SOMEWHERE – Written by Matthew Lopez; Directed by Laurie Woolery. Produced by the Denver Center for the Performing Arts Theatre Company (Presented in the Kilstrom Theatre at the Denver Center) through May 31. Tickets available at 303-893-4100 or DenverCenter.org.
The lights dim; the opening strains of the familiar music from WEST SIDE STORY fill the theatre. The heartbreaking lyrics enter your head – “There’s a place for us – somewhere a place for us” – and you know you’re in for something special. And, oh, how special it is. The music combined with the presence of a two-story fire escape framing a shabby but well-kept apartment foreshadows the ever-present dreams of a better life – “Hold my hand and I’ll take you there.”
This is the home of the Candelaria family of dancers in pursuit of their own place. Mother Inez, (Adriana Sevan) a dancer, married a musician for whom the lure of the next “gig” overcame his love of family. But the die was cast for their three children. They were destined to pursue their own dreams of success. The oldest, Alejandro (Angel Lozada), had an early role as a child actor in the Broadway version of THE KING AND I, which has encouraged the family to keep trying. Daughter Rebecca (Bella Serrano) shows promise with her natural talent and looks, if she can get through her quiet rebellion against the constant need for classes and practice. The youngest Francisco (Danny Gomez), while displaying grace and ease of movement, wants to be an actor rather than a dancer. His model is Marlon Brando, fresh off his success in ON THE WATERFRONT.
The last member of the family is a “taken in” son, raised by Inez when abandoned by his people. Jamie (Keaton Miller) is the most successful of the dancers, having performed in Broadway shows previously and now serving as Assistant to Jerome Robbins, who is currently casting and training dancers for the film version of WEST SIDE STORY in their neighborhood. Making their dream so close they could touch it and hear it.
If only the noise of demolition weren’t drowning out their inner music. They have received notice that the building they are living in has been condemned and scheduled for demolition to make room for the new and beautiful Lincoln Center. Inez refuses to accept this until the building starts to come down on her head. Not to be thwarted, they move to a slightly worse apartment and carry on with their dreams. The conflict between Alejandro, who has become the breadwinner and the responsible one in the family, and his mother is palpable and intense. This is a woman who would take their food money to keep the dance classes going for her daughter. A combination of Amanda from THE GLASS MENAGERIE and Rose from GYPSY, Inez is relentless in her pursuit of what she perceives as her children’s future.
But there is joy in this family as well. They love each other fiercely and demonstrate it in sweet ways. Setting the table becomes a pas de deux; moving onto the balcony is done with a graceful swing. Music from the record player initiates a group dance. It is easy to forget the difficulty of their lives in those moments of camaraderie that unite them. But the pressure on Jandro reaches a breaking point because of Inez’s recklessness.
This is a group of actor/dancers who have created a family that is real to them. The small gestures of familiarity and routine immediately create the heart of the family. They embody the dance of their lives with grace and determination. Each contributes equally to the success of the family and the production – with little separation between the two. As with all truly successful productions, it would be hard to picture anyone else in these roles.
The choreography of actual dance routines and the way the actors move during normal activity was brilliantly created by Mayte Natalio, the choreographer. The tension and the release is kept tightly in tow by the careful direction of Laurie Woolery. Just when you think all Hell is going to break loose, a joke emerges. The set designed by Efren Delgadillo, Jr., is startling in its mobility and authenticity. Paul James Prendergast created the sound design that underscores many scenes and bursts forth in excitement when there is real dancing to be done.
Matthew Lopez once again proves himself to be one of the most prolific and meaningful playwrights of this century. Denver audiences have enjoyed previous productions of his scripts for THE WHIPPING MAN, THE INHERITANCE, ZOEY’S PERFECT WEDDING, and THE LEGEND OF GEORGIA McBRIDE and look forward to many more. This script is a loving homage to those who toil to earn a place in the world of theatre.
A WOW factor of 9.5!!