DoÃ±a Rosita la soltera
Until October 3
Hispanic Theater GALA
3333 14th Street, NO
$ 35 to $ 48
In the 1930s, Federico GarcÃa Lorca, the greatest Spanish poet and playwright of the 20th century, wrote plays on the place of women in the world. In fact, Lorca, who was gay, explored the souls of women in a way unprecedented for Spain, or anywhere really. His insight is often attributed, in part, to his sexuality.
Now at the GALA Hispanic Theater, Lorca’s “DoÃ±a Rosita la soltera (DoÃ±a Rosita the Old Maid)” tells the story of Rosita, a single woman who has hopes of marrying a fiance from afar. Whether it’s to keep the populace at bay or to nurture a romantic fantasy, it’s not entirely clear, but the years – decades, in fact – go by and very little change.
Set in the conservative middle-class world of Granada (home province of Lorca), the 100-minute play, performed in Spanish with English surtitles, covers the 1880s through the early 1900s, compelling years for women in Spain. When Lorca wrote âDoÃ±a Rositaâ in 1935, on the eve of the Spanish Civil War, he appreciated recent advances in women’s rights and foresaw further imminent progress. Then, just a year later, at age 38 and at the peak of his art, Lorca was illegally arrested and murdered by Franco’s right-wing thugs. Everything was lost.
Adapted by our writer Nando LÃ³pez, GALA’s offering deviates from Lorca’s original in a number of ways: there are fewer characters and the older Rosita serves more as a narrator, interacting with herself at a younger age. Lorca’s glorious poetry remains largely intact.
Still, the story of the main character is clear: orphan as a child, Rosita (Mabel del Pozo) goes to live with her devoted aunt (Luz NicolÃ¡s) and her uncle (Ariel TexidÃ³), a passionate gardener. As a young woman, she falls in love with her first cousin (also played by TexidÃ³), and they are engaged. Although the groom left Spain to join his aging parents at their farm in TucumÃ¡n, Argentina, the young lovers remain engaged.
Domestic life continues. With the support of her loved ones and the family’s devoted but skeptical housekeeper (Laura AlemÃ¡n), Rosita assembles a first-rate trousseau and the engaged couples continue to exchange heartfelt letters. At one point, we talk about proxy marriage – an idea scorned by some household members and neighbors.
The similarity of the unchanging household is offset by the dynamic staging of our director JosÃ© Luis Arellano, an excellent cast, with actors skillfully changing characters on stage using hats or ties taken out of a dresser. , vibrant lighting by JesÃºs DÃaz CortÃ©s, and stage music by David Peralto and Alberto Granados. AlemÃ¡n, as good as the shrewd housekeeper of the country (a place respected by Lorca) also tries an old maid who comes for tea. And Catherine Nunez characterizes the female youth, scornful of Rosita’s single status. Delbis Cardona is versatile as a worker and Don Martin a teacher tasked with educating the ungrateful offspring of the wealthy in Granada.
After a rare outdoor excursion to the circus, Rosita falsely claims to have seen her future groom working with the troupe, but the housekeeper is quick to point out that the well-built puppeteer is by no means her barefoot shoulder-length fiancÃ©. stooped, adding that more and more Rosita sees her distant love facing the men of Granada. Quickly, the aunt reminds the housekeeper to know her place – she has the right to speak, but not to bark.
Visually, the passage of time is indicated by the hem and cut of Rosita’s dresses (designed by Silvia de Marta) and the dismantling of the mid-point ensemble (also by Marta), opening up the bedrooms and the garden of family to what lies beyond.
After the intermission, six more years have passed and the narrative is simpler and obviously convincing. Rosita’s aunt, now an edgy and generally miserable widow in reduced circumstances, packs her bags to move out. It was hard to run a house, she says. And it’s harder to scrub the floors, answers the faithful housekeeper.
And here is where del Pozo shines with Rosita’s revealing monologue, a strikingly truthful and passionately delivered speech that is worth the price of a ticket.
“DoÃ±a Rosita” marks a collaborative reunion of three Spaniards – writer LÃ³pez, director Arellano and actor del Pozo – who all worked on the production of the multiple-time Helen Hayes Award-winning GALA 2015, of the ” Lorca’s politically controversial Yerma, the story of another complicated Spanish woman.
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