Steadstyle Chicago
	July 2009 Theatre Review by Alan Bresloff
	El Grito del Bronx While there may not be a Latinofest at The Goodman this summer, one couldn't ask for more than what they are giving us right now.  In the Albert the wonderful "Bolero," and now in the Owen a marvelous World Premiere of playwright Migdalia Cruz's "El Grito Del Bronx", a powerful character study of a brother and sister and the cause and effect of how they were raised as children.  This production is a Collaboraction and Teatro Vista joint venture with the Goodman and a true collaboration of two different and unique theater companies working with a strong playwright in bringing this work to the stage here in Chicago. Director Anthony Moseley has put together a solid cast to make each little detail of this powerful drama come to life.  The period of time covered in this story is from 1977 until 1991 and is done in flashbacks as we learn about what happens to a family that has been the victim of domestic abuse.  Lulu (a warm and strong performance by Sandra Delgado) is about to get married.  She stands before her dressing mirror as the guests await her walk down the aisle.  She is alone and thinks about her brother Jesus , who is now called Papo, and how they have become what they are today.  Papo is in prison facing death.  He is a serial killer who murdered at least 18 men.  Juan Villa plays Papo with great skill and builds a character who despite the terrible acts he has committed is someone you can care about and feel sad for.  Not only is he waiting to be executed, he also has AIDS, so his wait for death is one of sickness and pain as well as torment. As she thinks about her brother not being there to walk her down the aisle and give her away to Ed, the flashbacks begin.  We see brother and as a 14 years old boy (played by Remy Ortiz) and a 12 year old girl (Rinska Prestinary).  They are very close, somewhat driven to be because of the abuse they suffer at the hands of their father Jose (the always powerful Eddie Torres).  This was their life, fear instead of love and despite their mother being a warm and loving woman (a solid performance by Diane Herrera) their father wielded the power, until one day Jesus could no longer take it. They end up leaving the Bronx and moving to Ohio, and while all seems okay with them it is not.  Jesus, after tasting blood, has chosen a different type of life while Magdalena (now Lula) gets her education.  She now lives with Ed in Connecticut.  He is ready for marriage, she is not.  Josh Odor underplays his role as Ed and makes him even more realistic, a man truly in love, no matter what Lulu does or has done.  The struggles they have are deeper than just what lies before them, but their pasts and their different cultures.  The other main character in the storyline is the guy next door (Warren Levon), another prisoner who becomes Papo's friend and confidant (and perhaps husband or wife).  The supporting actors Jeremy Oase, John Wilson, Patrese McClain, Molly Reynolds, Greg Hardigan, Max Lessner and Patrick Zielinski make the production complete. They go back and forth to the past, to the prison where her brother awaits his death and to the day to day life they lead not facing the past and/or the future.  Ed keeps asking her to marry him and she keeps putting off the answer.  Is it because she is afraid of what is in her past?  Is she afraid to  tell him the truth?  All of this unfolds in the two hours of this well written, well directed and superbly acted play by Cruz.  The multi level set design by Regina Garcia is the cell in two locations and the apartment in the Bronx always in view as well as the Connecticut apartment.  This allows the transitions and flow of the stories to make for a seamless work of art rather than a bunch of scenes with space in between for changes.  This works brilliantly. The added lighting by Jeremy Getz, sound by Miles Polaski and original music by Mikhail Fiskel are the ingredients that make the recipe reach near perfection.  The final touch is that of the audience opening up their ears and eyes to a subject that we know exists, instead of ignoring it thinking it will go away.  Lulu and Papo's story is one that might be happening right in your neighborhood.  Learn from this.  If you know of a home where this could be the case, report it.  Lulu and Papo were bound together with what they had lived through and their own struggles to attain freedom from those ghosts and memories. "El Grito" is only running through August 9, 2009 at The Goodman located at 170 N. Dearborn, so you might want to hurry to order your tickets.  This is one not to miss, no matter what you ethnicity.  Performances are Thursday at 7:30 p.m., Friday at 8 p.m., Saturday at 2 and 8 p.m., Sunday 2 p.m.  Tickets range from $18-$30, which is a true bargain for theater of this quality.  But they are doing something very different with this production, a money back guarantee!  If you are not happy with what you saw, all you need do is come to the lobby after the show, speak with a member of Teatro Vista and fill out a simple form with name, address and so forth with your reason for not liking the show and a refund will be issued on-the spot.  I for one cannot anticipate that they will give back one dollar.  To order your tickets visit the box office, call 312-443-3800 or visit www.goodmantheatre.org.   About Alan Bresloff Alan Bresloff, once an actor himself, has been covering the Chicago Theater Scene since 1993, first as the Theater and Arts critic for LaRaza newspaper, then with Salsachicago.com and then onto Extra Newspaper and The Epoch Times.  He also writes for ElImparcial and TeleGuia.  His reviews can also be seen on www.theatreinchicago.com.  Alan does not call himself a "critic" but a "reviewer" as he tries to educate the reader about theater itself, what is a good value, what to look for in a play or musical and more.  "Exposure to theater is a very important part of a young person's life" he says. "Learning about the arts and culture is in fact learning about life" and he tries to explain more in his reviews than just if it is good or bad.  Even some of the poor productions have some value, he often says and he would love your feedback on shows that you have seen.  You can write him here or at albresloff@sbcglobal.net.