Readers often ask how could a
religious Nun write about love and passion with such ardent fervor?
UCLA's Associate Professor Alicia Gaspar de Alba published her first
novel, "Sor Juana's Second Dream", in the Fall of 2000. In it, she
alludes to the love that Sor Juana had for her benefactor, the
Countess de Paredes, wife of the Viceroy to Mexico, openly exploring
the nun's, political, intellectual and sexual tendencies.
From that platform, playwright Odalys Nanin has created a
powerful presentation where the nun's passion for learning and her
lust for literary advancement blends perfectly with a premise that
has Sor Juana writhing in deep sexual desires, mostly unfulfilled,
but definitely based on longings for her own gender.
From the first scene that has Juana masturbating, as her
beautiful young protégée jumps in bed with her, to the closing lines
where she cries out for the loss of her love, the Countess, every
line has the sub rosa hue of sexual frustration. As Juana writes
poems, letters, plays and novels, they all have the underlying theme
of love, passion, desire and frustration, and their acceptance by
society clearly indicates her ability to touch the sensitivities of
everyone. Except the Church hierarchy.
The wonderful baroque set by Timothy Bergen depicting Juana's
cell and the shadowy dramatic lighting created by Adam H. Greene add
to rich telling of the story where the genius of the woman is
balanced by her nearly obsessive desire for the Countess, who would
visit her from time to time in the convent, but had to limit their
encounters to a discreet touching of hands or demure hugs.
Director Odalys Nanin's portrayal of the nun is filled with
passion and angst, with a convincing touch of rebellion. Yet she
manages a frailty and dependence that balances the self assuredness
of the literary person with the insecurity of the obsessive
unfulfilled lover.
Constantly having to defend her secular writings, Sor Juana is
finally forbidden to take up the quill, because of a response she
penned to a sermon by a priest the Archbishop admired. Eventually
she is forced to denounce her writings, her ideas and her love, and
her vast library and belongings are stripped from her. She is
sentenced to solitude and self flogging, which she administers with
the same passion as her writings causing even more suffering and
pain than was meant.
Linda Alcaraz has the right amount of despotic aplomb when
playing Mother Superior, Juana's chief antagonist. In
contrast, Jodi Fleisher creates a veritable bon fire with her
unabashed portrayal of Juana's lover. Their one erotic
encounter bristles with raw passion and fury, behind a partial
veil that symbolizes their desire to openly proclaim their passion,
and their need to keep it hidden. Fleisher's performance is
augmented by the elegance of her costuming by Zale Morris, and her
ability to absolutely carry off the demeanor and elegance of the
part.
Jolene Kim is wonderfully innocent as Juana's young indentured
protégée, confused when the nun's affection is no longer meant for
her, sincere in wanting to please her mentor, with the stain of
inner guilt knowing the illicitness she has been drawn into by
Juana. Her eventual disappearance underscores the great harm the
relationship caused her and hints at Sor's possible perversion and
abuse of power over a weaker person.
Along the lines of abuse, the Bishop of Puebla is shown as a
womanizing opportunist, hungry for the Archbishop's scepter.
The Bishop's exploits in bringing young virgins to the fold of the
convent are well known, and Robert Fuentes manages an excellent
personification, while Luis Amechazurra is the epitome of a
seventeenth century Father Confessor, wanting to guide Juana but
more interested in serving the Church in its condemnation of her
works.
It may come as a surprise to learn that nuns had slaves at that
time, and Juana was no exception. How the Church could allow slavery
while preaching the Word is still a mystery, but Juana's attitude
towards Francisca makes it clear this was an accepted norm.
Samantha Beaulieu is excellent as the resigned, sometimes bellicose
slave.
Presciliana Esparolini plays Juana's younger cousin and Pete Leal
is the Archbishop. Jeannie Austin co-directs the
production.
Whether by design or by incredible coincidence, the play is
presented at the Hollywood Court Theatre, located in the Hollywood
Methodist Church in the heart of Hollywood, where a large part of
the congregation is same sex oriented, almost as if to indicate that
the struggle depicted in the 17th century play has finally found a
place where it's no longer necessary to hide one's feelings.
This is not to say that Sor Juana's struggle for women's rights
is over. It might mean that at least one phase is coming to pass,
with many more battles yet to be fought and won.
As elegant in its presentation as it is rich with imagination,
this production merits a discerning look by anyone who enjoys good
theatre and appreciates artists performing at their very best.
The performance will continue through December 14, 2003. For
reservations call (818) 623-9333.
Comments? Write to us at:
Letters@reviewplays.com
The Hollywood Court Theatre is located at 6817 Franklin Ave,
(Corner of Highland Ave), Los Angeles, CA
90028.
