Arizona State University Department of Theatre's The Origin of the Sea at The Lyceum Theatre
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 4/21/00
(out of )The Arizona State University Department of Theatre is presenting the Dramatic Poem The Origin of the Sea, a piece written and directed by Oscar Giner, director of their MFA performance program. This offering combines elements of poetry, music, dance, and mythology. The mythology represented here is that of the Taíno people of the Caribbean, as collected by Fray Ramón Pané, a Spanish man of the cloth who accompanied Columbus on his second voyage to the inappropriately named New World. These myths tell of the creation of the sea, and the people who descended from the lizards that populate these islands. At least, I think so, based on bits of the performance and the author's notes.
It's not easy to tell exactly what it's about, because this is a production that does better when it's collective mouths are shut. Many of the performers are either soft-spoken, speaking through odd accents and cadences, or accompanied by overpowering background singing, which makes much of the show unintelligible. Eventually, some of the actors are audible, and some of the dialogue understandable, but overall, most of the compelling moments come from song and dance. Mr. Giner has created a performance that looks striking, moves silkily, and often sings beautifully, but crashes to earth when it tries to explain itself.
I've been trying to avoid a single word thusfar, but there's no way around it. This performance wanders back and forth between powerful and pretentious. Often, it's hard to know when it is which, and occasionally encompasses both at once. For example, one of the many narrators, Raven, is given an horrifically over-the-top presentation by Bree Williams. While extremely entertaining, Richard Perez's Zajori wrests the narrator role for most of the second act, thrusting the piece completely into the present in an unexpected way that would have been much more welcomed had it been consistent. There are moments when actors will present situations with laughable intonations, and then dance those situations in powerfully heart-wrenching ways. Fray Ramón (Paul Benchwick), wanders through scenes, explaining way-too-much, and adding way-too-little, while the most powerful moment of the play begins the second act, as one of the women (I'm sorry I can't tell you whom, as most introductions of characters are as muddled as the story narration) sings a solo of life trapped at the bottom of a well. As is often the case, I'm not exactly sure what that song is doing there, but damn, it's amazing.
Ultimately, this is a piece worth experiencing, if not understanding. The music choices are all over the map, from traditional to Santana to Philip Glass, but some are very effective. The movement is nearly self-explanatory, and well handled by the performers. edward j. coco's dance-based lighting design adds to the effect, while denying some of the theatrical moments a chance to be seen. Tammi Hocking and Donna Bartz have created costumes that work better than the dialogue. Evan Alexander's spare scenic design is fluid, giving the space its transitory nature.
In the end, the question is begging to be posed: Why is the visual element so powerful, and the dialogue so wretched? Most of the answers lie in Mr. Giner's choices. The odd and simplistic word choices sound like bad translations, while indiscriminately transporting his audience from Caribbean to barrio, sixteenth to twentieth centuries, and the cultures of Taíno, Mexican, and even Apache keeps the audience off balance. This is a situation where the author should trust his audience more, while pondering and pandering less. If you go, enjoy this offering's beautiful movement and, to a lesser extent, song. If you choose to concentrate on what it is telling, and less on what it is saying, you'll be happy.
Production Details:
The Origin of the Sea by Oscar
Giner
Arizona State University
The Lyceum Theatre, Phoenix
(480) 965-6447
April 14th - 30th, 2000