The West Coast premiere of playwright Martín Zimmerman’s involving SEVEN SPOTS ON THE SUN receives a splendid, mesmerizing mounting with all the artistic elements artfully converging into one of the best and riveting theatrical experience I’ve seen in the Los Angeles theatre scene this year.
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Now at The Theatre at Boston Court in Pasadena, “Seven Spots” proves riveting and wrenching as it explores the motives and consequences of the terrifying conflicts, which have afflicted, in this case, an unnamed Latin American country. Here, as in the real El Salvador, Nicaragua, Peru or Colombia, villages change hands multiple times, with each side punishing those who aided the other one, and brutal tests of fear which harm mostly those whose compassion drives them.
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Martín Zimmerman’s extraordinary play “Seven Spots on the Sun” draws upon some of the most ancient theatrical devices to tell a complex, profoundly emotional tale of honor and love, as well as cruelty and horror set in a small Central American village suffering through a brutal civil war. Three actors collectively called The Town (Daniel Penilla,Dianna Aguilar and Michael Uribes) call to mind a Greek chorus as they join with the rest of the cast in choral speech, dance and rhythmic drumming at critical points in the play, beating their fists on the high, curved corrugated steel wall that forms the scenic background of the production.
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Martín Zimmerman’s play “Seven Spots on the Sun,” now in its West Coast premiere at the Theatre @ Boston Court, dramatizes the effects of civil war on a village called San Isidro in an unidentified Latin American country. The setting is allegorical rather than naturalistic: We never learn who is fighting whom, or what either side hopes to accomplish. War is simply the environment that these characters occupy and, we learn, helplessly perpetuate.
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The atrocities of war are not confined to battlefields. It’s trite but true: War changes a man, and Seven Spots on the Sun, now playing at the Theatre@Boston Court, examines what that means, both for the men at war and those who witness the effects.
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Zimmerman’s script has a poetic quality too (see paragraph three) that makes it particularly apt for a stage production (with just enough español to give it sabor latino without confusing non-Spanish speakers). Bits of magical realism are scattered throughout as well, with Tom Ontiveros’s dramatically animated video design adding moments that are both magic and real. Performances could not be finer.
Click here to read the entire review.
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