Nuestral Pastorela, Cara Mia

Nuestra Pastorela
Cara Mia Theatre Co.




Cara Mia’s retelling of the Christmas story via Nuestra Pastorela at the Latino Cultural Center is a charming, entertaining and nostalgic production at the exact right time of year for people of all faiths, cultures and languages.

“Performed in English, Spanish and Spanglish, Nuestra Pastorela returns to the Latino Cultural Center with its family-friendly spin on a Mexican holiday tradition. Written by Jeffry Farrell and Cara Mía's Executive Artistic Director David Lozano, this unique and zany adaptation of the Mexican shepherd's tale features all the usual suspects. The Angel Gabriel, the shepherds traveling to Bethlehem, and the bumbling devils, depicted in the playful style of the Mexican folk tradition, plotting the shepherds' doom by tempting them with the seven mortal sins. When the shepherds don the "smallest mask in the world" (the red clown nose), chaos ensues and hilarity abounds with broad physical comedy and slapstick. A one-of-a-kind production for anyone who is a child at heart!” (taken from Cara Mia’s publicity materials.)

The script is simple and yet brilliant in its blend of English and Spanish- the audience can speak either language (or neither!) and perfectly understand the intents and the message, and even the jokes. Comedy that appeals to both children and adults is also a rare find, but there is no age group left out of the fun of Cara Mia’s Nuestra Pastorela.

Cara Mia’s productions are performed at the Latino Cultural Center. With 300 seats in a raked audience and a deep stage with a proscenium arch, the designers and the actors have the task of taking their simple story and filling the space. The unaccredited set designer chose to place three rows of audience chairs on risers on each side of the playing space at center, and yes, unsuspecting audience members are seated on stage. Upstage center has a one foot tall wooden platform, about five feet deep by six feet long. Keeping with the theme of a traditional Pastorela, there is no other set design for this show, and while more set could be added to the space, it is not missed once the fun begins.

Lighting designer Amanda West makes use of colored lights (red for the devils and pure white for the angel), but otherwise keeps the lighting design simple. Personally, I would have preferred some stars for the night scenes, and maybe even some rapid light movements for the traveling scenes (of which there are many.) The lighting design kept with the overall theme of simplicity, but was one area I would like to see a more complex design unfold.

One of the highlights of Nuestra Pastorela is the musical accompaniment of Erin McGrew. She plays along with the Nino and Nina Clown Shepherds at the beginning of the show, and then from her spot in the upstage right corner, she uses a keyboard, some chimes, and various other objects to create the musical soundtrack and even sound effects for each of the scenes. As much of the Shepherds’ shenanigans are improvised, especially at the beginning of the play, it is a wondrous feat that her music stays perfectly in sync with the onstage action. Finally, towards the end of the play, McGrew is able to show off one of her other skills- singing- and the placement of her simple carol brings the entire evening into a sharp, sentimental and sweet focus.

Kristin Moore’s costumes were the predictable Biblical costumes for the Angel Gabriel, Maria and Jose, but she took more liberties with the Devils'. Luzbel wears an all red suit and tie with matching devil’s horns. Pingo and Estrellita, minor demons under the command of Luzbel, wear less sophisticated costumes. Pingo wears red long johns, furry knickers, a red mid-drift barring shirt, horns and a long red tail. Estrellita, the sexual temptation to most of the men on stage (and a few in the audience), wears red high heels and a red tutu over her skintight Star Trek-ish red leather unitard in addition to the requisite red horns and tail. She also adds a dark red wig and false red eyelashes to aide in her seductive moves. The “Mexican Shepherds/Clowns” are wearing Mexican peasant inspired costumes with more white fabrics than colorful ones used in order to convey their innocence and childlike faith. All the costumes are appropriate for the characters and are well fitted.

Props by Frida Espinosa-Muller were intentionally childlike- from the Star of Bethlehem on a fishing pole to the cap guns given to the Shepherds by Pingo as a means of tempting them away from their journey to see the Christ child. However, much of the cast effectively use pantomime to convey needed objects throughout the performance.

Director Jeffry Farrell never lets the onstage action become static or sappy- there is constant movement to keep the audience engaged. He also smartly makes use of the ENTIRE performance space, including the front of house area for the devils’ entrance from “down below”. One pitfall of the production (and possibly the venue) is that the dialogue that takes place in the upstage area is nearly impossible to hear (and I was in the fifth row). To his credit, Farrell places most of the essential dialogue in the downstage area and allows the Shepherds to speak their special “clown-speak” in the upstage area. One very important piece of information is lost, though, from the Angel Gabriel when he appears to the Shepherds while atop the platform. Perhaps a microphone or a pre-recording of his message would help. Finally, Farrell allows certain audience members seated on the stage to become part of the action in the final scene, directed by the Shepherds, and it is to his and the actors’ credit that this scene is a wild success during most performances.

The pre-show action involves David Lozano and Frida Espinosa-Muller posing as audience members. I know Lozano and Espinosa-Muller, so when they began their antics, I knew the show was starting. However, for those in the audience who don’t know their relation to Cara Mia, they at first appear to be a normal couple. However, as their improv progresses, their involvement in the show quickly becomes evident to all. And it is their involvement in the show that makes it such a success. As described in the director’s notes, this production turns the Shepherds into theatrical clowns (a distinction from circus clowns.) As mentioned, Lozano and Espinosa-Muller improv some pre-show dialogue and action that had me laughing the entire time (there are couples like them in every audience.) Once they transform into the Shepherd Clowns, their movements become more exaggerated and their facial expressions and diction more childlike. Espinosa-Muller is a shining light on the stage and makes audience members sit up and engage in the story along with her. Lozano keeps pace with her, matching her energy and enthusiasm with his own version of clown sarcasm and sensibility. Pricilla Rice plays the Mama (clown Shepherd), and though I never heard her speak a clear word, she completely conveys who she is, what she is doing and her thoughts and opinions of those around her with absolute clarity via her physical movements and facial expressions. All three use a lot of pantomime in their actions, all of which is expertly executed.

Luzbel is sinisterly and slimily played by Rodney Garza, who, according to the director’s notes, also made his lines rhyme. In Pastorela tradition, the devil and his minions are not supposed to be seriously taken as villains, and Luzbel walked that fine line between comedic and scary with precise tightrope skills. He also flipped easily between English and Spanish, producing most of the Spanglish listed in the promotional materials. Ivan Jasso makes total use of his impressive vocal range and long legs and arms to transform into Pingo (who adapts various disguises in failed attempts to stop the Shepherds while on their journey). His use of various accents and character voices aides in the story telling and continues to entertain not only the children but the adults in the audience as well. Estrellita is played by Stephanie Cleghorn, and though she has no audible lines, she utilizes her Peg Bundy style walk and high-pitched giggles to attract plenty of attention as she tries to assist Pingo in his evil plans.

J.R. Bradford as the Angel Gabriel is stoic and authoritative in his lines, when they can be heard. The highlight of his performance is when he does his “angel run” onto and off the stage. Maria is quietly and serenely played by Ana Gonzalez. She along with Sergio Liibo Rodriguez as Jose are required to portray the classic Christmas characters all without cracking a smile as chaos ensues around them nor becoming so stoic that no one cares about them. Both Rodriguez and Gonzalez accomplish this task, creating an endearing and believable picture of Jesus’ (the Spanish pronunciation) birth. Gonzalez could hold the infant Jesus (presumably a doll) with a little more care and realistic movements, though her walk as the very pregnant Maria seeking shelter on her journey is achingly real. Rodriguez’s work with a pantomimed mule is spot on, including unpacking the saddle bags and tying off the animal. He also returns at the end, accepting the gifts from the Magi with a sincere and humble “Gracias” as Maria rocks the baby. Above all, Rodriguez and Gonzalez look the parts of Maria and Jose.

Though from Christian roots and a Mexican tradition, Cara Mia’s Nuestra Pastorela can easily become a new family tradition for people from all backgrounds- and it should.



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Nuestra Pastorela
Cara Mia Theatre Co.
at the Latino Cultural Center
2600 Live Oak
Dallas, Texas 75204

Reviewed performance on Friday December 10, 2011.
Runs through December 17th.


Performances are Thursdays, Fridays and Saturdays @ 7:30 pm.

Tickets are $10 for everyone on Thursdays, and $15 for adults and $12 for children, students, and seniors on Fridays and Saturdays. Tickets can be purchased online at www.caramiatheatre.com or by calling (214) 717-5297.

Directed by Jeffry Farrell
Written by Jeffry Farrell and David Lozano
Stage Managed by Robert Walsh
Scenic Design was unaccredited
Lighting Design by Amanda West
Costume Design by Kristin Moore
Props Design by Frida Espinosa-Muller
Musical Accompaniment- Erin McGrew

CAST
Nina- Frida Espinosa-Muller
Nino-David Lozano
Luzbel- Rodney Garza
Angel Gabriel- J.R. Bradford
Pingo- Ivan Jasso
Estrellita- Stephanie Cleghorn
Maria-Ana Gonzalez
Jose- Sergio Liibo Rodriguez
Mama- Pricilla Rice

Bias- I am friends with all the cast members to varying degrees, having performed or spent time with all of them. In my opinion, this review does not reflect this bias and is in no way a result of our friendship.