Energy, imagination fuel ‘Pedro Gynt’

Tom Titus

Transporting, and translating, an epic Norwegian play into the heart

of Mexico and condensing it from five hours into a manageable two

would seem to be a Herculean task, but UC Irvine has accomplished it

quite impressively with its production of “Pedro Gynt.”

Director Robert Cohen adapted Henrik Ibsen’s rambling “Peer Gynt”

and infused it with not only the styling, but often the language of

the Mexican people -- one character, in particular, speaks virtually

nothing but Spanish. Yet the flavor of the piece translates easily

and its lusty, energetic staging -- in full round, under a tent, with

seating only two rows deep -- engulfs and challenges its audience.

The first act is presented in more or less traditional fashion,

with its central character launching his hedonistic quest for “self.”

The second is a sprawling, episodic adventure enriched with Mexican

folklore and a haunting preoccupation with death.

Although the title character is, indeed, a rascal, he nevertheless

elicits audience empathy, thanks to the superb portrayal of Noel

Iribe in a most exhausting assignment. Iribe dominates the stage not

only physically, but with his unquenchable thirst for all life’s

banquet has to offer, and he’s not above offering a sly wink and an

aside remark in the process.

All other performers take on multiple roles, from devil dancers to

birds and monkeys, elaborately costumed by Kristine N. Haag. A few,

however, stand out in their most impressive individual contributions.

Talia Thiesfield, as Pedro’s mother, is the aforementioned Spanish

speaker and she endows her role with a rich, feisty characterization

that’s easily translated. Davina Agudelo shimmers as the beautiful

Soledad, Pedro’s elusive true love, whose efforts to keep him

grounded are only eventually successful.

Another indelibly created character is Jeanne LaSala’s lusty devil

princess, who seduces Pedro early on, then returns as a gap-toothed

hag to taunt him. LaSala also is responsible for the glorious

choreography, mesmerizing in the minuscule staging area.

Amanda Randall’s spirited horsewoman Anitra revels in her

dominating assignment. Omar Ricks excels as a tribal chieftain and,

later, a “button molder” who arrives to write the final chapter in

Pedro’s life. Justin C. Lujan, Lawrence Kao, Daren Herbert, Patrick

Sabongui and Michelle Aguilar complete the UCI cast in a variety, and

multiplicity, of assignments.

This lively mixture of fantasy, parody and mythology has become

more or less a UCI trademark in a series of outlandishly stylized

productions. With “Pedro Gynt,” it has found a comfortable and

rewarding niche, creating an international theatrical smorgasbord.

* TOM TITUS reviews local theater for the Daily Pilot. His reviews

appear Fridays.