The Mother of Henry by Evelina Fernández

By Joe Straw

Upon entering the theatre Yee Eun Nam, Projection Designer, slips the audience comfortably into the 1960’s with projections on the walls of Martin Luther King Jr., John F. Kennedy, and Robert Kennedy.   The Scenic & Lighting Design by Emily Anne MacDonald & Cameron Jaye Mock effectively placed pipes gives symbolic shape to form of the Sears Tower building in downtown 1960’s Los Angeles.   The bars also form an elevator that is put to good use.

Connie (Cheryl Umaña) doesn’t have a problem with her name, Concepcion. Although others constantly mispronounce her name, she shortens it to Connie, an Americanized version from/for/of the place she calls home. She is the mother of Henry and also takes care of her Mamá (Esperanza America) a wildly puerile cantankerous woman - wheel chair bound - wrapped in colorful woolen scarves who takes no guff from anyone including her daughter, Henry’s mother.   

 

On the first day of the job Connie is hustled to the upstairs offices of the Sears Tower.  She doesn’t think much of her abilities as Herb (Gary Patent) from Human Resources elevates her to the floor and then moves her to her desk of the returns department.  She muses out loud that she should be working the basement rather than in the office upstairs.

But now Connie will try to make the best of it as she meets her co-workers Olga (Mary-Beth Manning) a straight, white, Canadian motherless being, and Loretta (Ella Saldana North) who takes pride in her constant complaints.

They are supervised by Manny (Xavi Moreno) a married man, ambiguously separated, and very much on the prowl with the three ladies in his department.  When he is there, if there is a heaven for Manny, the office must be that place.

On the face of things Connie’s life is looking up, but now she has to worry about her son in the military, her mother, and Manny who won’t take no for an answer.

In the privacy of her own bedroom later that night, she asks for help from the Virgen de Guadalupe (Esperanza America) and her prayers are answered, well sort of, and with an accompaniment of an angel (Robert Revell) on electric guitar to boot.  

There is a lot to enjoy from Evelina Fernández’s play of The Mother of Henry, which is funny, magical and always inventive. What is remarkable are the relationships between family and friends, between the spiritual and human, and the harsh realities of everyday life played out in mortal silence. What seems to be missing is the end for each character, the destination, and a realization of resolution. (In some ways the ending has a Casablanca feel. “Louie, I think this is the beginning of a beautiful friendship.”) Does life have a resolution? Or, does it slip into the next chapter?

This is Connie’s journey presented in a vivid colorful life, and exercised in an imaginative time  - a colorful crossing into the unknown, a death, and a welcoming back after grieving.  A lot of what you’d expect in José Luis Valenzuela’s direction, a definitive style, of comedy and drama mixed with a dash of cumin, cayenne, and crushed chilies.

The acting is top notched. One worries by coming early that the best days are ahead of the actor, with much more life, backstory, connection, and meaning.  Fernández’s play has wonderful opportunities for actors to stretch and fill in the backstory.

Esperanza America(La Virgin/Mamá) timing is impeccable and her voice melts. Being a deity of sorts it is almost impossible to imagine why she presents herself. But, she must have a reason other than her perspicacity. One figures it must be for love, but love for a reason.  The only thing missing was the Heiligenschein.

Mary-Beth Manningis Olga, a woman who knows what she wants but when she gets it she doesn’t know what to do with it, how to behave, and how she moves forward from there.  That all plays well but, how has her character changed in relationship with the other two women? And, how is that resolved in the relationships with the women as well as the men?  How does she find the answer to what she is looking for?

Xavi Moreno is Manny, a married man that goes after anyone he can get including his co-workers.  Manny is not mean but appears to be slightly confused about what he really wants. He is not smart, and easily found out in many situations, but he is likeable. His vainglorious attempts at female conquest have its limitations. Moreno must find a resolution to the character, a defining moment that changes him in a significant way.  

Ella Saldana Northis terrifically funny as Loretta who knows everything about everyone’s business.  She appears to be single, wears a ring, doesn’t have a significant attachment, or one she speaks little of, but she’s in everyone’s business all the time 24/7/365. She thinks she is right about everything she says. There must be a reason why everyone loves her.

Gary Patent is Herb, a closeted gay man, alone in the world of the Sears tower. He manages to come out only because of a moment and to only one person. He wants to belong but conflicted by discovery. Is there an opportunity to bond with his male counterpoint?

Robert J. Revellseems so comfortable as Angel, an angel with a mean guitar. Revell has an incredible presence on stage. There’s room here for dialogue in the play if only for short sonorous bursts.

Cheryl Umaña is Connie, Henry’s mother and one believes Umaña loses sight of her son, possibly the backstory that she should never forget. One gets the feeling the actor should carry her son throughout the play in however that manifest itself, a military hat, a letter, whatever works to keep the son next to her throughout. Symbolism goes a long way to give Connie courage after the death of a loved one.  Also, moments are missed that could move the play along in a significant way, her discovery of the Virgen, finding out a character is gay, she seems to reflect a level of stoicism, and an unreadable stare (from my vantage point), that didn’t move the character along.  Umaña is pleasant enough and has her moments but another level is needed, to give substance to the character and life.

And just as a matter of observation, Connie’s introduction to the Virgen is lost because the Virgen is bathed in the light and we are drawn away for Connie’s reaction.  This is an important moment for both characters. We must have a reason they are both in the room and the relationship must be solid to carry forward.  Also, it helps to make the comedy work later in the play.

Also, Connie’s kiss requires a bit more attention in whatever physical and emotional output is necessary to carry their relationship forward.  The nadir of Connie’s character is a death, she lashes out, but there are other choices to get the other characters to her side.

One more thing, Connie’s relationship to the angel must carry some weight, a remembrance, the slight turn of the head, reminding her of her son in a distant land.  The angel is there for a reason and Connie must see that.

 John Zalewski, Sound Design, does an incredible job including the typewriters coming in from the other room.

Moving the desks on and off the stage required a dance of sorts compliments of Urbanie Lucero, Movement Coordinator and Choreography, but was not sure about the slow motion movements downstage and how that moves the play along.   

Other members of the crew are as follows:

Michelle A. Prudente – Production Stage Manager

Maricela Sahagun – Assistant Stage Manager

Michelle Tapia – Production Assistant

Evan Nichols – Production Coordinator

Run! Run! Run! And take a believer! No, take a true believer!

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