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对于古巴美国剧作家nilo cruz.,每一行都是诗歌,每个对联都与他根源的社会政治发言。

这可能意味着抒情“安娜在热带地区“2003年赢得了Cruz的比赛普利策戏剧奖以及它在佛罗里达州的雪茄古巴移民的故事以及涉及劳动力的劳动力,同时向他的工人阅读“Anna Karenina”。或者它可能意味着挽歌“洛卡在绿色的衣服”及其社会意识和超现实主义者的混合在思考死亡和后世之后。

对于“两个姐妹和钢琴”,他的1999年的政治激情游戏 - 现在由Cruz指导作为通过新普通州的流媒体工作 - 该环境是令人责任的哈瓦那。就在苏联崩解之前,俄罗斯人从卡斯特罗的古巴删除自己,天堂和地狱即将爆发,大约1991年。

虽然诗歌通常是两个艺术家姐妹们为小型革命罪行的时间逮捕,但由佛罗伦西亚罗桑的小说家和索菲亚描绘的小说家玛丽亚西莉亚Daphne Rubin-Vega- 它是portuondo(吉米露上面),一位被分配的中尉观看他们的每一个举动并阅读每一项通信,其军国主义的方式与浪漫的概念,感性的恩典和最终,尖锐的悲伤成熟与圣经的托沼泽。

The object of Portuondo’s affection and ire: the lilting, imagistic words of Maria Celia, made manifest in her physical beauty, her revolutionary spirit and her own loving relationship to an exiled, off-screen husband invested in finding political asylum away from Cuba, for his wife and her writing.

因此,开始玛丽亚Celia和她的中尉狱卒 - Lover Portuondo之间的猫和鼠标相互作用,这是一个充满活力的玛丽亚与她永远不安的妹妹的动态复杂,在热烈的谣言和野生Bronco的斗争之间摇摆。索非亚是钢琴调谐器维克多·曼努埃尔的痴迷对象,如迷宫剧院公司的创始人Gary Perez所描绘的。

因此,开始剧本的好奇文化观察 - 从一代强制锁定,愤怒的令人难以损坏和腐败的电力结构到另一代。Fated to endure this compulsory captivity, from the drama’s alarming, violent beginning to its futile finale, the only true escape for its women-artists come through their vivid imaginations — a notion that finds them reciting, playing and rhapsodizing as often as it finds them talking.

这里的电优雅的个人连接有两种方式。首先,Cruz的俏皮的诗意语言,即使是最严厉的政治化,他的简单方向也让他的演员是美味的自由。Even when its characters are not free, enclosed in one cramped apartment with nothing but mangoes, rice and the occasional rum shot (and despite the virtual limitations of a laptop’s viewing screen), “Two Sisters and a Piano” is as open as a Havana landscape, with all of its flavors, scents and sensory overloads at full tilt.

除了Cruz的抒情语言还是他与其中两个演员的联系:Smits和Rubin-Vega。Smits initially collaborated with Cruz for the 2004 Broadway run of “Anna in The Tropics,” while Rubin-Vega’s Tony-nominated turn in that same 2004 production followed her performance as Sofia in the 1999 Off-Broadway premiere of “Two Sisters and a Piano” at The Public.

Rubin-Vega最好的时刻是因为她的角色抵抗寂寞和与Victor Manuel(Perez)的性渴望。虽然每次喋喋不休地对他们内心的真实和想象的音乐紧张,既可以在简单的鞋子的简单鞋子上冒出泡沫和他们之间的赃物之间的可能性。

The Smits we see in “Two Sisters,” a mountainous man with a wide face and lovely eyes, reveals colors and tones we’ve rarely witnessed in the actor: shy, sly loverman, ardent protector, betrayed Romeo with just a smidgen of wool pulled over his eyes. When the dynamic between Portuondo and Maria Celia is compared (a little heavy-handedly) to a pounding vessel on an open roaring sea, Smits’ Portuondo responds, “beautiful, beautiful, beautiful,” and each repetitive ring is laced with its own set of emotions.

Smits'通过与Lozano的Maria Celia的迷人相互作用来浮现在这样的阴影和雾中。相机喜欢Lozano,她爱上笔记本电脑相机,倾斜她的脸,勾结她的脖子,并在虚拟领域的典型方面倾斜她的头。如果有一个锁定流托托,可以面向镜头并充分利用它,其赢家是洛桑,短剧近二。当她背弃她的角色,让她的束缚扔掉并抓住她的手臂,就好像她在中空中抬起观众和自己。她的快乐和自由感才是明显的。她自己也是如此,因为她常常和她一起玩Portuondo和他一样无与伦比。

当SMITS的角色读取她丈夫的没收的信件时,他的Portuondo受到伤害,甚至被玛丽亚的Celia在她的BEDROTHED的慈爱文本中重新加入 - 即使他们是Portuondo的编码语言。当俘虏询问她的俘虏阅读另一个男人的情书的速度较慢,它们之间的游戏是一个尖锐而性感的棋子。“敌人并不是那么糟糕的事情,”玛丽亚西莉亚说。

New Normal Rep, the producers and creators of “Two Sisters and Piano,” was founded at the height of the pandemic to present digital theater with performances recorded in actors’ homes using green screen technology and staging and editing techniques that split the difference between stage action and TV pacing. While a few moments and set pieces linger longer than they have to, “Two Sisters and a Piano” looks as good as it sounds, with its faces and poetry intact.

“两个姐妹和一个钢琴”评论:吉米妈妈和Daphne Rubin-Vega带来激情和诗歌到数字剧院

在NewNormalRep.org的需求媒体,4月21日至5月23日。25美元顶级,学生和剧院专业人士10美元。两个小时。

  • 生产:Nilo Cruz的新普通代理生产。
  • 全体人员:由Nilo Cruz指导。Adriana Gaviria虚拟技术总监;舞台经理加布里埃尔Szajnert;Costume Designer,Gema Valdes。
  • 投:Jimmy Smits,Florencia Lozano,Gary Perez,Daphne Rubin-Vega。
  • 音乐:Sancho&Morin。