Photo Source: Michael J. Palma
The play centers on Ofelia, incarnated by an indefatigable Wanda Arriaga, who seems to be channeling a kind of Latina Momma Rose. Ofelia is a widow with delusions and dreams of grandeur but who lacks the financial means to achieve them. When she learns of a new beauty pageant being held in San Juan, she decides that if her daughter Loreley, played with sweet vapidity by Gredivel Vásquez, can win the competition, the family's place in society will be firmly established. In particular, Loreley's victory will mean that Ofelia can finally upstage her BFF and archrival, the well-heeled Esperancita, whom Iliana Guibert imbues with an appropriately saccharine and annoying hauteur.
The cost of the pageant proves financially ruinous to the family. Bill collectors begin beating at the door, and Ofelia must even ask her two other children—would-be salsa singer Nataniel, played by the appealing Ricardo Hinoa, and the nerdy Abigail, whom Rita OrtÃz brings to life with spirited charm—and her shiftless brother Domingo (the consistently amusing Mario Mattei) to get jobs. They do, but only jobs that bring in both money and embarrassment. Ofelia goes so far as to have Loreley begin an affair with a much older man, who just happens to be one of the pageant's judges.
Directed with flair by René Buch, in collaboration with Fernando Then, the piece is played broadly and at a zealous clip and proves to be a delight for Spanish-speaking audiences. As for the English speakers, the sonorous simultaneous translation dulls some of Ferrari's best zingers, but the performances and visuals—particularly production designer Robert Weber Federico's over-the-top costumes—are infectious, as is Ferrari's increasingly sly satire of Ofelia's insane drive for success and recognition.
Presented by and at Repertorio Español, 138 E. 27th St., NYC. June 8–Sept. 5. Schedule varies. (212) 225-9999 or www.repertorio.org.