THEATER REVIEW:Comedy, tragedy collide in ‘La Celestina’

The traditional symbols of the theater are back-to-back masks — one comic, one tragic. Yet few plays explore both avenues of the craft quite so fully as the latest production at UC Irvine, an obscure Spanish saga from the late 15th century.

“La Celestina,” written as a novel by Fernando de Rojas in 1499 and translated in 1631 by James Mabbe, is indeed a total theatrical experience — bawdy comedy in its first act and murderous tragedy in the second.

UCI director Keith Fowler thrusts both elements into the face of his audience.

“I have always enjoyed paradox in the theater,” Fowler writes in his program notes, “the side-by-side presentation of opposites, especially revelations that humans contain many more facets than we normally suppose.”

Fair enough. But the shifting of emotional gears in “La Celestina” is a sudden and jarring process. Audiences may wince as this romantic comedy set in a Spanish village erupts into a siege of murders, accidental death and suicide that, at its closing, rivals the final body count in “Hamlet.” (Of course, de Rojas predated Shakespeare by several years).

Motivation is a crucial factor in the turning of visceral tides, and that of “La Celestina” is simply petty larceny. The production graphically illustrates how simple acts may have brutal, and quite unexpected, consequences.

The overall production is voraciously played out against an ancient-looking backdrop designed by Chris Hansen, which functions as various staging areas. Both the intimate scenes and the wildly frenetic ensemble frolics are beautifully executed on the multilayered setting. The title character, a gnarled old crone who gravitates between witchcraft and matchmaking, is superbly rendered by Nylda Ria Mark. Her wit and wisdom pervade the proceedings, and her puppetry with the young lovers is smoothly accomplished.

Jeff Parker earnestly enacts the young and love-smitten Calisto, melted to Romeo-like jelly by the elusive beauty of Melibea, an enticing Rachel Grate. These actors are skilled at both the poetic and passionate elements of their courtship.

Servants’ roles have been show stealers from time immemorial, even in 1499 as Calisto’s minions — Evans Jarnefeldt and Nathan C. Crocker, later Dane Svenningsen and Andrew Heringer — prove conclusively. Denver Vaughn is also a treat as the ditsy lady-in-waiting to Melibea.

A sultry Laura A. Simms ignites the production as Celestina’s closest companion. Alex Phillips swaggers lustily as a mercenary soldier whose words speak louder than his actions. An enthusiastic ensemble contributes earthy atmosphere.

The contributions of music director Daniel Gary Busby and sound designer Mike Hooker interact splendidly with Sara Broadhead’s mood lighting and, in particular, with Jessica Champagne’s period costuming. Choreographer Heather Castillo guides a large and enthusiastic cast through some intricate movement during the celebration scenes.

Be prepared to both laugh and cry at UCI’s elaborate and often wrenching production of “La Celestina.”