NY Review: 'Teresa’s Ecstasy'

They say opposites attract. Uptight, frigid New Yorkers notoriously fall for the casual, carefree Europeans when studying abroad or on overseas sabbaticals, and in “Teresa’s Ecstasy” the scenario is no different. However, Andrés and Carlotta are opposites in more than just character; the actors portraying them fall on different ends of the spectrum as well. Shawn Elliott exudes confidence as he effortlessly disappears in his role, while Begonya Plaza seems as uncomfortable performing as her character is serving divorce papers.

Plaza, also the playwright, plays her part like she is an outside observer, watching the other actors and failing to engage fully in the action. She holds her arms anxiously and recites her calculated memorizations of her lines. At one point, Andrés says to Carlotta, “Talent is a certain ability to execute. I don’t think you have it.” The ability to execute is exactly what’s missing from Plaza’s performance.

Her dual role as actor and author probably distracts her, leaving the play a bit muddled. Carlotta flies to Spain with her editor, Becky, to write a magazine piece on Saint Teresa of Avila. On a stopover in Barcelona to deliver divorce papers to her estranged Spanish husband, Andrés, Carlotta finds herself in a bind when the airline loses her suitcase. This unplanned event forces her to stay and reconnect with Andrés, while socialite airhead Becky barhops around town. Andrés still harbors a deep love for Carlotta, but she holds secrets beyond the divorce papers. The weak intrigue follows some fairly predictable dramatic scenarios.

It’s a tribute to Elliott’s performance that Andrés comes across as a lovable character; his harsh statements and derogatory, crass language would make him disingenuous in lesser hands. However, the women in the story are fairly flat. Linda Larkin fills out the empty-headed Becky, with her Disney-princess sensibility, rendering her almost likable by the play’s close. Director Will Pomerantz can’t quite harness his actors’ idiosyncrasies but creates an appealing stage canvas.

Adrian W. Jones captures the Spanish environment with his bright, raw set, while Albert Carbonell’s salsa-inspired music completes the charming ambiance. I could have basked in Andrés’ apartment for hours, but I didn’t really want to spend more time with the characters.

Presented by Avila Productions, by special arrangement with the Cherry Lane Theatre, at the Cherry Lane Theatre, 38 Commerce St., NYC. March 14–April 1. (No performance Thu., March 15; performance Sun., March 18, is at 7 p.m.) Tue.–Sat., 8 p.m.; Sun., 2 p.m. (212) 352-3101, (866) 811-4111, www.theatermania.com, or www.cherrylanetheatre.org.