The history of any nation is at the core of its identity. But what happens to that identity when its people take history for granted? Can progress ever take place without them first asking the hard questions about their nation's past? Can real leadership be granted by proxy without the bona fides of experience?
The Imposter, Luis Avalos' world premiere translation of Rodolfo Usigli's El Gesticulador, set in 1938 Mexico, enters the world of a man who tries to remind us that we must acknowledge our past to embrace our future. It's the story of an unsuccessful Mexico City history professor, Cesar Rubio (Avalos), who moves back to his hometown with his family after many years' absence. When a visiting Harvard professor mistakenly identifies Rubio as a missing hero of the Mexican Revolution, Rubio assumes the role of the revolutionary. Through Rubio's willingness to omit the truth, he creates a series of events that rewrite history.
The language seems to strive for a sense of poetry but may have lost something in the translation from the original Spanish text. Although the dialogue's beauty occasionally shines through, several uneven performances occasionally disrupt its flow. As producer, translator, director, and actor, Avalos may have worn too many hats. Touching as the underappreciated teacher, he hesitates with his own often well-written words. Blanca Araceli as Elena exudes motherly warmth in a lovely, natural performance. Elizabeth Duran as Julia needs more depth for the emotional scenes with father Rubio. The handsome Lorenzo Callender as Miguel, while intriguing, lacks conviction as the son.
Armando Di Lorenzo as the corrupt General Navarro stands out in leading the supporting cast. Also memorable are the ingenuous Gerard Marzilli, the offbeat Angel Fajardo, the crisp Leo Vargas, the steady Maximilliano Mastrangelo, and the stylish John Olvera.
Francisco Stohr's set easily transports us to Mexico, Mariel McEwan's costumes are accurate and attractive, Brendan Grevatt's lighting is appropriately moody, and Juvencio Segura's sound design is unobtrusive and supportive of the action.
Presented by the Americas Theatre Arts Foundation at the New LATC,
514 S. Spring St., L.A.
Thu.-Sat. 8 p.m., Sun. 3 p.m. Jun. 5-23.
(213) 489-0994. www.thenewlatc.com.