REVIEW: "Anna In The Tropics"

A Review

Novel Inspiration

By R. J. Donovan

Life imitating art -- or maybe vice versa. That's the story behind SpeakEasy Stage Company's production of "Anna In The Tropics."

Written by Nilo Cruz, the 2003 Pulitzer Prize-winning drama is set in 1929 in a small, family-operated cigar factory in Tampa, Florida. In the tradition of Cuban cigar factories, the owners arrange for a lector to read to the workers as they create cigars by hand.

The longtime previous lector has died. Replacing him is the cool, calm and cultured Juan Julian. Dressed in a white linen suit, the dashing reader becomes an object of desire for the women, and a source of scorn for at least two of the men.

For his initial selection, Juan Julian chooses Tolstoy's "Anna Karenina." The wintery Russian story of love, passion and adultery at first seems miles away from the factory setting. But as the workers listen intently, it soon appears there's more than a passing similarity between the emotions of the characters in the novel and the lives of the workers.

Despite the stuffy, tropical factory setting, the play has a very cool feeling -- like a gentle breeze against warm skin. The set is clean and efficient. The performances are paced and assured. And much of the playwright's imagery is quite poetic.

Director Daniel Jáquez uses the broad stage well, creating an immediate ambiance at the top of the show as the setting shifts back and forth between the men at a dark and smoky cockfight and the women, all in white, waiting on the pier for Juan Julian's arrival.

As Conchita, the woman who falls for the lector after her husband's affections have diminished, Melinda Lopez (left) once again gives a confident and composed performance. From her first appearance waiting on the pier to her final moments in the factory, Lopez consistently draws your attention with a measured combination of sad acceptance and inner strength.

Liam Torres (left, with Lopez) gives Juan Julian an understated charm as he weaves his way into the close knit lives of the workers. Diego Arciniegas is solid as Conchita’s alienated husband, despite the script having him accept his wife's tit-for-tat affair a little too willingly.

Dick Santos is Santiago, the owner of the factory and Bobbi Steinbach is his wife. She holds things together when he can't bring himself to face the workers after gambling away a share of the business (although he does get close enough to the action to listen to the lector and become engrossed in the story). As Marela, the other daughter, Angela Sperazza comes off a little too wide-eyed and giggly.

Pressing for assembly line automation is Robert Saoud as Cheché, Santiago's half brother. His immediate dislike for the new reader is due, in no small part, to his wife having run off with a lector at another factory. Saoud is more convincing as the jilted husband than the letch who develops designs on the virginal Marela.

Cruz has romanticized "Anna's" lector somewhat as lectors traditionally read from newspaper articles in the morning. Literature was reserved for the end of the work day. Based on their choice of news articles, lectors became influential in opening workers' eyes to labor and political issues. Which, in turn, threatened the factory owners.

It's interesting to note that while American factories did away with lectors shortly after 1930 (in part because of industrialization), lectors continue to read to cigar laborers in Cuba today.

"Anna In The Tropics" is at The Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston, through March 26. For information, call 617-933-8600.

Production Photos: Craig Bailey, Perspective Photo @2005

-- OnStage Boston

3/11/05

			A Review Novel Inspiration By R. J. Donovan Life imitating art -- or maybe vice versa. That's the story behind SpeakEasy Stage Company's production of "Anna In The Tropics." Written by Nilo Cruz, the 2003 Pulitzer Prize-winning drama is set in 1929 in a small, family-operated cigar factory in Tampa, Florida. In the tradition of Cuban cigar factories, the owners arrange for a lector to read to the workers as they create cigars by hand. The longtime previous lector has died. Replacing him is the cool, calm and cultured Juan Julian. Dressed in a white linen suit, the dashing reader becomes an object of desire for the women, and a source of scorn for at least two of the men. For his initial selection, Juan Julian chooses Tolstoy's "Anna Karenina." The wintery Russian story of love, passion and adultery at first seems miles away from the factory setting. But as the workers listen intently, it soon appears there's more than a passing similarity between the emotions of the characters in the novel and the lives of the workers. Despite the stuffy, tropical factory setting, the play has a very cool feeling -- like a gentle breeze against warm skin. The set is clean and efficient. The performances are paced and assured. And much of the playwright's imagery is quite poetic. Director Daniel Jáquez uses the broad stage well, creating an immediate ambiance at the top of the show as the setting shifts back and forth between the men at a dark and smoky cockfight and the women, all in white, waiting on the pier for Juan Julian's arrival. As Conchita, the woman who falls for the lector after her husband's affections have diminished, Melinda Lopez (left) once again gives a confident and composed performance. From her first appearance waiting on the pier to her final moments in the factory, Lopez consistently draws your attention with a measured combination of sad acceptance and inner strength. Liam Torres (left, with Lopez) gives Juan Julian an understated charm as he weaves his way into the close knit lives of the workers. Diego Arciniegas is solid as Conchita’s alienated husband, despite the script having him accept his wife's tit-for-tat affair a little too willingly. Dick Santos is Santiago, the owner of the factory and Bobbi Steinbach is his wife. She holds things together when he can't bring himself to face the workers after gambling away a share of the business (although he does get close enough to the action to listen to the lector and become engrossed in the story). As Marela, the other daughter, Angela Sperazza comes off a little too wide-eyed and giggly. Pressing for assembly line automation is Robert Saoud as Cheché, Santiago's half brother. His immediate dislike for the new reader is due, in no small part, to his wife having run off with a lector at another factory. Saoud is more convincing as the jilted husband than the letch who develops designs on the virginal Marela. Cruz has romanticized "Anna's" lector somewhat as lectors traditionally read from newspaper articles in the morning. Literature was reserved for the end of the work day. Based on their choice of news articles, lectors became influential in opening workers' eyes to labor and political issues. Which, in turn, threatened the factory owners. It's interesting to note that while American factories did away with lectors shortly after 1930 (in part because of industrialization), lectors continue to read to cigar laborers in Cuba today. "Anna In The Tropics" is at The Calderwood Pavilion at the Boston Center for the Arts, 527 Tremont Street in Boston, through March 26. For information, call 617-933-8600. Production Photos: Craig Bailey, Perspective Photo @2005 -- OnStage Boston 3/11/05

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