Review: FUENTEOVEJUNA at GALA Hispanic Theatre

The production of Fuenteovejuna at the GALA Hispanic Theatre is an important showcase of Hispanic power and resilience and a historical narrative that still resonates today. 

Written in 1613 by Lope De Vega, Fuenteovejuna is widely considered a masterpiece by the most influential playwright from Spain’s golden age. The play depicts a town revolting against tyrannical rule during a period of countrywide political unrest, based on the real events of the Fuenteovejuna village uprising in 1476. Though overzealous rulers terrorize the town, the people are not so easily defeated, and they unify to become stronger than their enemies. 

The set design was immensely effective without any frills. The ground was laid with crunchy, shifting sand, and a large, silver wrecking ball hung menacingly in the midground. A long, curved bench behind the ball offered a gallery for the ensemble to spectate from, hide behind, or elevate themselves on. A birds-eye camera was projected on the back wall and added depth to the scenes. Characters looked to God — and through perspective, the audience — to claim their power or beg for mercy. 

The actors utilized the space very effectively: They convincingly transformed the stage from the warm fields and streets of humble Fuenteovejuna to the cold yet regal mansions of those who ruled over the town. Julia Adun’s Laurencia was headstrong and resilient even when she was beaten down, and Luis Obed as Mengo added just enough comedy to lighten the darker themes. Iker Lastra’s grimy and aggressive performance as the Comendador elicited an audible, visceral disdain from the audience on multiple counts.    

Though the scenic design was effectively minimalistic, the props were not as sound. When Frondoso (Samy Khalil) threatens the Comendador with a crossbow, it is pantomimed, and so is the cane that the town’s mayor, Esteban (Ariel Texidó), is attacked by the Comendador with. The same cane is used when the town murders the Comendador, however as a real prop this time, complete with fake blood. With this discrepancy, along with some unrefined prop work from the actors (particularly in the murder scene), it would have been beneficial to redefine the presence of props.  

The addition of a DJ (Aldo Ortega) who played the electric guitar and bongos and mixed the music was a device that emphasized this 400-year-old production’s place in the modern era. Lyrics from the original script were reworked into verses backed by a poignant guitar riff that hung in the air, and having select actors sing the verses was expertly unsettling in moments of high tension. 

Palpable pride and love were emitted from the performers, crew, directors, and staff at GALA. Everyone came out at the end of the curtain call and received their (literal) flowers, which were well deserved for their passionate production of Fuenteovejuna.

Fuenteovejuna will run Thursdays through Sundays until March 2nd, 2025. Performances are in Spanish with accessible English subtitles. 

Runtime: 2 hours, including 2 acts and a 15-minute intermission. 

Photo credit: Daniel Martínez. Courtesy of the production.

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