There is one word that comes to mind when trying to describe “La Fea: A FlamenChoreoMyth.”
It’s often overused, but it carries weight in this case. “La Fea” is unique.
It is shockingly difficult to categorize. It is a hero’s journey scattered with mythological allegories and clever poetic devices, like songs being literal physical objects or that love and sorcery are indistinguishable from each other.
There is a pueblo ruled by an Orwellian military general, giving the play a universal and timeless Latino feel. It is a myth, after all, and the myth is about transcending time and space for the purpose of looking for meaning.
But timelessness requires non-specifics, and “La Fea” gives plenty of specifics.
Pop culture references and humor fly like the world’s classiest episode of “Family Guy.” Though in “Family Guy,” you expect pointless transitional humor.
Here, time and space is played with so casually that the bubbling shots of pop culture actually are shocking. The setting is not exactly timeless — it’s all times.
And, of course, there is plenty of flamenco. But in the second act, “La Fea” kicks wholly into high gear. The best poetry is formed here, with the set-up journey fully established.
Playwright Riti Sachdeva has written strong, defined characters rich with interest and singular flavors. Her plot threads weave personal stories that took place long before the events of the actual play into the show’s stunning climax.
The props, set and costumes contribute to this mindfully all-timed otherworld. The chorus of flamenco dancers add a magical pretense as props and set pieces.
As it should be, the most exceptional set piece occurs in the climax of the piece with a massive, rotating train platform. All roads lead to this point, and the physical majesty of the set compliments the splendor of the drama.
The performances, in general, are a little slapped together. The lines are not always there, and deliveries usually echo false or flat, even though the script is well-written and often beautiful.
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It would have been nice for “Words of Fire” to have been given more time to rehearse and really add polish to a show that breathed character and creativity.
This does not extend to Nick Salyer, who continues to bring down the house in anything he does. He plays General Pavon, oozing ease, humor and plenty of Latin passion. Salyer’s comfort is clear.
“La Fea: A FlamenChoreoMyth” is special in a way that is difficult to describe. Experimental or surrealist theater has its fair shake in Albuquerque, but “La Fea” has a style all to itself.
“La Fea” is many things: cute, clever, and cutting; sweet, stirring and sorrowful, and Sachdeva is an ageless storyteller whose continued work is exciting.
