The best of Latino Theatre Fest
A rare appearance by Cuba's Teatro Buendía, a Mexican take on Chekhov and other gems round out the Goodman's offerings.
The Sins of Sor Juana
(Sat 19–Jul 25, $25–$71)
Karen Zacarías’s 2001 drama about the 17th-century nun and poet is no drily factual bioplay. The playwright, granddaughter of Mexican film pioneer Miguel Zacarías, reimagines court intrigue and forbidden trysts through the lens of Sor Juana’s sensuous poetry. Expressionistic and irreverent, the mainstage play provides a passionate anchor for the festival.
La Visita de la Vieja Dama
(Jul 8–11, $28)
(Jul 15–18, $28)
Cuban company Teatro Buendía presents two pieces in Spanish with projected English subtitles. La Visita de la Vieja Dama, based on Friedrich Dürrenmatt’s The Visit, tells the story of a rich woman who returns to the village that exiled her years ago. She promises to ease the village’s poverty, in return for the head of the mayor. A version of Peter Weiss’s Marat/Sade, Charenton’s play-within-a-play stages the death of the French revolutionary figure Marat in an insane asylum, directed by the Marquis de Sade.
(Jul 17, free)
Teatro Vista presents this staged reading of the new play by Tanya Saracho. Transforming the setting of Anton Chekhov’s The Cherry Orchard to an almond plantation, Saracho’s work centers on a quintet of wealthy Mexican expatriates who return home only to find themselves disoriented. El Nogalar will receive a full production as part of the Goodman’s 2010–11 season.
(Jul 21, $18)
For two decades, Chicago’s Aguijón Theatre has been producing high-caliber Spanish-language theater. This production, presented without subtitles, draws from the writings of Mexican journalist and novelist Elena Poniatowska to portray women in the time of the Mexican Revolution.
Lark Play Development Center readings
(Jul 23–25, free)
New York’s Lark Play Development Center fosters exchange between U.S. and international playwrights. This weekend offers staged readings by several Chicago companies of new Lark-sponsored translations, including the dreamlike A Lover’s Dismantling and the comically action-packed Yamaha 300. The festival-within-a-festival begins with a workshop production of Javier Malpica’s poignant border study Our Dad Is in Atlantis.