EMA REVIEW: References to Salvador Dali Make Me Hot Scrumptious ★★★★
- Erik Engman
- 29 minutes ago
- 3 min read
Surrealism And Reality Intertwine In Dali Play
By Erik Engman
Author, Clown and Improvisation Teacher, Theatre Critic EatMoreArtVegas.com
IG: ErikReviewsVegas
Surrealist artist Salvador Dali, best known for his melting clocks, was forever changed by the horrors of World War II and how it affected mankind. His painting “Two pieces of Bread Expressing the Sentiment of Love” depicts two lone fragments crumbling in the middle of a vast desert. Playwright and filmmaker Jose Rivera brings these influences into his play, References to Salvador Dali Make Me Hot, along with the magic realism of Colombian novelist Gabriel Garcia Marquez and the works of Pedro Calderon de la Barca.
On the edge of the desert in Barstow, Gabriela (Amanda Guardado) waits for her husband, Benito (Jamey M. Clay), to return from the Army. She has been living in a fantasy where the Cat (Aurora Watts-Esquibel) and the Coyote (José Anthony) flirt with each other, and the Moon (played by both Agustin Ballesteros-Martinez & Arturo Hernandez) romances her. Meanwhile, her 14-year-old neighbor, Martin (Romeo Lopez), dreams of being with her sexually. When Benito arrives, they both try to figure out what they want, who they are, and if they have a future together.
Director Gigi Guizado takes us into a dream world of fantasy mixed with the harsh realities of relationships and the effects of war. She brings out fantastic performances, especially with the two leads.
Amanda Guardado performs beautifully as Gabriela, the neglected wife, balancing her passions against her tumultuous marriage. She carries the show with ease. Jamey M. Clay is powerful and passionate, as always. He’s one of my favorite actors, and this performance solidifies that. Romeo Lopez is great as a naive neighbor and has simplistic notions of relationships. Aurora Watts-Esquibel and José Anthony are charming and delightful as the Cat and Coyote, playfully flirting between love, sex, and death. Agustin Ballesteros-Martinez and Arturo Hernandez complement each other beautifully as one plays music and the other dances and seduces.
Eric A Koger’s set is amazing, blending striking imagery with a hint of surrealistic design. I especially liked the moon, which is simply haunting. It is complemented by Jordyn Cozart’s lighting design, highlighting the setting and bringing us from reality to a dream. The sound design by Constance Taschner was beautiful and drew me in.
The issue I had was the play itself. It’s divided into two worlds: a stylistic fantasy world and a dramatic reality world. Both were great on their own, but they didn’t flow together as easily as they should have. As beautiful as the fantasy parts are, the realistic parts are far more compelling. It takes a bit to get used to the presentational style of the fantasy at the beginning. But that is a problem with the playwright Rivera, and doesn’t take away from the overall production.
In the program, it’s quoted “...there has never been a machine made to X-ray the heart and reveal its secrets, except for poetry…” And the irony is that the whole play is a mix of poetry in various forms. Don’t let terms like “surrealism” and “magical realism” deter you from seeing this. It’s actually very straightforward and easy to follow. I am so glad that A Public Fit took this risk and brought this to the valley. It’s a beautiful play overall and a beautiful production.
What: References to Salvador Dali Make Me Hot
When: April 4 through April 22; Thursday, Friday, Saturday and Tuesdays at 7 p.m. Sundays at 2 p.m.
Where: Charleston Heights Arts Center, 800 Brush Street, Las Vegas, NV 89107
Tickets: General Admission $45, Military/Student/Senior $35, Industry Night (Tuesdays) $25;
RATING: Scrumptious ★★★★
Artistic Director: Ann-Marie Pereth, Producing Director: Joseph D. Kucan, Director: Gigi Guizado, Scenic Design, Lighting Design: Jordyn Cozart, Sound Design: Constance Taschner. Costume Design: Kendra Faith, Scenic Designer: Eric A. Koger; Master Carpenter: Benjamin Ashton; Choreographer: Anthony Bertoli; Production Stage Manager: Brandi Blackman