The script is the star.
Desert Ensemble Theatre Company has produced eight plays written by Tony Padilla during its eight seasons. And get this: English is his second language!
There are precious few authors who can achieve this kind of success, let alone in a second language. Joseph Conrad, who wrote Heart of Darkness, which later inspired the movie Apocalypse Now, spoke Polish as his cradle tongue … and frankly, I can’t think of another example off the top of my head. Padilla comes from Cuba, where at age 11, he and his family escaped during the historic exodus from Castro’s fiefdom. Today, he not only speaks flawless English, but writes as playwright-in-residence for DETC.
At the Pearl McManus Theater at the Palm Springs Woman’s Club, a venue the group is sure to outgrow soon, award-winning Padilla’s newest work is titled For a Reason. “It’s very different,” he said about the new work. “It’s not personal—I didn’t experience this. It comes from research, from becoming passionate about the subject of relationships, from reading and seeing other people in their relationships, and learning about them. That’s what moves me.”
Frankly, isn’t how we treat our fellow man the essence of our development? Look at how you act when you’re mixed in with other people—and that will show you who you really are, especially in intimate relationships. Look at how many court cases there are because of the problems! In the case of For a Reason, Padilla’s script sparkles with not just brilliant writing, but also with his tremendous insights about people and how they interact.
A glance at the printed program might make one anticipate a musical, since these actors are so well known for their singing—but no, it’s a straight-up play, despite well-known local music-biz names like Charles Herrera, Leanna Rodgers and my dear colleague, the Independent’s own Bonnie Gilgallon. Interestingly, Shawn Abramowitz directed the play (with Sierra Barrick as assistant director), and then had to step in to play a role on the stage—which he does perfectly, never missing a word. In other words, everyone in the cast boasts multiple talents.
The open stage shows us a casual and slightly messy living room/den, designed by Lauren Bright, containing a big globe and souvenirs, artwork and tchotchkes from around the world. Artistic director Jerome Elliott greets the audience and informs us that this is a world premiere! The lights, designed by Ashton J. Bolanos, come up, and we begin. Sandra (played by Rodgers, an actress with the most beautiful eyes and smile), is the live-in daughter-in-law of the aging but successful writer Pablo Luna (a cane-stumping, grey-haired, grumpy but lovable Hererra). They are interviewing for a position of companion/caretaker for him, as he suffers from an unnamed degenerative disease. Aaron Watson, cleverly played by a black-bearded Abramowitz, is the last applicant of that day.
It is revealed that Pablo is “isolating,” and we see that the patient is indeed trying to push everyone away from him. But Aaron proves to be bright and feisty, and the verbal jousting begins. Pablo is deemed “a difficult client,” but Aaron is more than a match for his wit and wisdom. The two actors swat lines at each other with complete believability, on the topics of happiness, loneliness, choices, success, mothers, artistic virtue, social masks, balance, sex, youth versus age, writer’s block, men’s animal magnetism, and movies. There is great charm in their mind games, and this is where Padilla’s script shines brightest. He manipulates the language joyfully and curiously, giving us inventive and refreshing results. The two actors have mined the script deeply, and their shades of meaning, even when trading some rude insults, are beautifully thought out.
The men eventually arrive at an impasse in their philosophical swordplay, and have to call in an adjudicator. Enter Gilgallon as Gisele. She’s a dream girl instiletto heels, black hose on her long legs, anda clingy scarlet dress that hugs her eye-popping curves. (Kudos to costume designer Frank Cazares.) We are led to believe that she is a Lady of the Night … but watching her moves and listening to her talk, we begin to wonder. She is way too shrewd, too literate, too thoughtful. She keeps us guessing. Gilgallon’s focus in this role is beautiful to behold, and she is totally believable as this mystery woman (with the exception—forgive me—of the wig). Her warm and musical voice is shown to its best advantage in this role.
There are some smart theatrical choices made in this play, such as bringing in the champagne already poured instead of the time-wasting, not to mention dangerous, pouring in front of an audience … but we need to hear the offstage POP! of the cork to make it real.
This is an extraordinary play, and it runs smoothly. The theme of the play—relationships—posits the idea that people are brought together to affect each other’s lives with the chance that they will be better persons as a result. It is a lovely thought—even though some of us might be able to think of a few people we wish we’d done without. All these characters do experience an arc as a result of meeting each other, with Sandra’s change possibly being the most dramatic.
The play runs 60 minutes with no intermission, and says everything it has to say with such lovely conciseness that it makes you wonder why other plays have to go on for hours to achieve the same results.
Angelantonio Padilla’s words and thoughts will stay in your head. Whose lives have you met and changed … for a reason?
For a Reason, a production of Desert Ensemble Theatre Company, is performed at 7 p.m., Friday and Saturday; and 2 p.m., Sunday, through Sunday, Feb. 17, at the Pearl McManus Theater at the Palm Springs Woman’s Club, 314 S. Cahuilla Road, in Palm Springs. Tickets are $25. For tickets or more information, call 760-565-2476, or visit www.detctheatre.org.