Tag: Sandra Delgado

Review: La Ruta (Steppenwolf Theatre)

Cher Álvarez (Brenda) and Karen Rodriguez (Ivonne) star in La Ruta, Steppenwolf Theatre    



La Ruta

Written by Isaac Gomez  
Steppenwolf Theatre, 1650 N. Halsted (map)
thru Jan 27  |  tix: $20-$89  |  more info
Check for half-price tickets   

December 29, 2018 | 0 Comments More

Review: 2666 (Goodman Theatre)

Janet Ulrich Brooks and Mark L. Montgomery in 2666 Parv V, Goodman Theatre          


Adapted by Robert Falls, Seth Bockley
  from novel by Roberto Bolaño 
Goodman Theatre, 170 N. Dearborn (map)
thru Mar 13  |  tix: $20-$45 | more info
Check for half-price tickets   

March 10, 2016 | 2 Comments More

Review: Mojada (Victory Gardens Theater)

Juan Francisco Villa and Sandra Delgado star in the world premiere of Victory Gardens Theater's "Mojada" by Luis Alfaro, directed by Chay Yew. (photo credit: Michael Brosilow)        

Written by Luis Alfaro
Directed by Chay Yew
Victory Gardens Theater, 2433 N. Lincoln  (map)
thru Aug 11  |  tickets: $30-$60   |  more info
Check for half-price tickets 
        Read entire review

July 24, 2013 | 0 Comments More

Review: Pedro Páramo (Teatro Buendía at Goodman Theatre)

Charín Alvarez and Alejandro Alfonzo star in Teatro Buendía and Goodman Theatre's "Pedro Páramo" by Raquel Carrío, directed by Flora Lautén. (photo credit: Liz Lauren)       
Pedro Páramo 

Written by Raquel Carrío
Directed by Flora Lautén
at Goodman Theatre, 170 N. Dearborn (map)
thru March 31  |  tickets: $14-$32   |  more info
Check for half-price tickets 
        Read entire review

March 27, 2013 | 0 Comments More

Review: The Motherf**ker with the Hat (Steppenwolf Theatre)

John Ortiz and Sandra Delgado star in Steppenwolf Theatre's "The Motherf**ker with the Hat" by Stephen Adly Guirgis, directed by Anna D. Shapiro. (photo credit: Michael Brosilow)        
The Motherf**ker
                 with the Hat

Written by Stephen Adly Guirgis
Directed by Anna D. Shapiro
at Steppenwolf Theatre, 1650 N. Halsted (map)
thru March 3  |  tickets: $20-$86   |  more info
Check for half-price tickets 
          Read entire review

January 9, 2013 | 1 Comment More

Review: Night Over Erzinga (Silk Road Rising)

Sandra Delgado stars in Silk Road Rising's "Night Over Erzinga" by Adriana Sevahn Nichols, directed by Lisa Portes.        
Night Over Erzinga 

Written by Adriana Sevahn Nichols   
Directed by Lisa Portes
at Pierce Hall, 77 W. Washington (map)
thru Nov 11  |  tickets: $40   |  more info
Check for half-price tickets 
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October 15, 2012 | 1 Comment More

Review: A Christmas Carol (Goodman Theatre)

Tiny Tim (Roni Akurati) proclaims, “God bless us everyone!” on the shoulders of Ebenezer Scrooge (Larry Yando), in the 34th annual production of Goodman Theatre’s A Christmas Carol.       
A Christmas Carol 

Written by Charles Dickens 
Adapted by Tom Creamer
Directed by Steve Scott 
Goodman Theatre, 170 N. Dearborn (map)
thru Dec 31  |  tickets: $25-$92   |  more info  
Check for half-price tickets  
        Read entire review

December 4, 2011 | 2 Comments More

Review: El Nogalar (Teatro Vista at Goodman Theatre)


A fresh, visceral update of Chekhov classic


Sandra Delgado and Christina Nieves - El Nogalar

Teatro Vista i/a/w Goodman Theatre presents
El Nogalar
Written by Tanya Saracho
Directed by Cecilie D. Kennan
at Goodman Theatre, 170 N. Dearborn (map)
through April 24  |  tickets: $15-$32  |  more info

Reviewed by Paige Listerud

‘”They’ve taken our Mexico. They’ve taken our days, our nights.”   –Valeria

Breakout Chicago playwright Tanya Saracho has taken Anton Chekhov’s The Cherry Orchard and planted it in contemporary Northern Mexico. Change the cherries to pecans, keep the once-wealthy family and the rigid class divisions, hang on to willful blindness to a way of life changing and you have the Silver Age of Russia all over again. One notable exception: Madame Ranevsky and her household never had to contend with the violence spawned by drug cartels vying for control of their territory. Bracingly directed by Cecilie D. Keenan, Saracho’s adept variation takes Chekhov’s premise from the frying pan and throws it directly into the fire. The result is an exciting new work that speaks with immediacy and passion to our times.

Carlo Lorenzo Garcia and Yunuen Pardo - El NogalarDunia (Yunuen Pardo) and Guillermo Lòpez (Carlo Lorenzo Garcia) maintain the house and land belonging to the once-prosperous Galvan family. Only the older daughter of the clan, distraught, anxious and overworked Valeria (Sandra Delgado), has stayed on to manage the property. Her mother Maité (Charin Alvarez) and sister Anita (Christina Nieves) have long lived up north in America, Anita attending various schools and Maité absorbed in an abusive affair with an American intellectual—a man who says “Mexican” like it’s a dirty thing. “You know he means other kinds of Mexicans,” says Valeria to her returning sister, hanging on to those little shreds of the past and class distinction that once defined her family. The past hangs on like a ghost they can’t shake and, in the past, their home played host to governors and senators. An upstairs bedroom contains a bed rumored to have held a former president of Mexico. Now, Valeria fights Dunia to keep the lights off during the day to save electricity and she desperately relies on Guillermo for physical protection and financial solutions.

Maité and Anita return to the shell of their family’s former ease and grandeur—a condition symbolically reinforced by the oversized, intricately detailed dollhouse that centers Brian Bembridge’s set design. Their friends, the old rich and influential families of Mexico, have fled. Only those too poor to leave, like Dunia and Guillermo, have stayed to endure the ravishment of their lives and futures by ongoing drug wars. Drug lords have grabbed surrounding lands and now set their claws on the Galvan’s land, which sports a once-glorious pecan orchard that Guillermo Lòpez worked in barefoot as a child.

Charín Alvarez and Christina Nieves - El Nogalar Sandra Delgado and Yunuen Pardo - El Nogalar
Charín Alvarez, Christina Nieves and Sandra Delgado Christina Nieves - El Nogalar

Pardo and Garcia do a brilliant job setting up the brutal and dangerous reality that informs their every action and choice. “Who would believe the news?” says Dunia about the kidnappings and slayings that are a constant occurrence, “It seems like a movie.” Lòpez tells her she talks too much and will no doubt end up dead in a ditch for it, but he himself seems ambivalent about his own tough pose. “Words are for idle people, people who don’t have to work for a living,” he mutters as he strokes a book that he longs to have the security and leisure to read and absorb, like his wealthy employer before him.

Yet, nothing heightens the dangers facing the Galvan family like mother Maité’s entrance. Here is a woman on the edge, who still dresses and acts like a jet-setter from a lost era of affluence. Alvarez subtly captures Maité’s mania and pushes it over that edge at precise moments, but never overplays it. Here is a woman with her head in the sand, with a manic faith in the belief that just acting the part of a jaded millionaire will pay her way and protect her from the losses to come. “Look at this place. It’s breaking my heart in two,” she says of the house and her dried out, untended pecan trees, yet we know she will never take responsibility for its neglect. Sandra Delgado and Christina Nieves in El NogalarStill absorbed in a vision of herself from 20 years ago, she jogs the hills in tight mini-shorts heedless of the risk she’s putting herself in.

Young Anita also returns sorely unprepared for the world she’s come home to. An adolescence spent shifting from boarding school to boarding school has left her as ungrounded and as unconnected to her culture as can be. “I’m a half person,” she complains to Valeria, having only a little grasp of Spanish and a debutante’s understanding of the world. Of the three Galvan women, only Valeria seems to have developed the capacity to survive the loss of the orchard. Delgado deftly runs the gamut of overtaxed emotions that are Valeria’s lot, whether trying to contain her mother’s excesses or get her to accept the reality of their situation. Her crowning moment comes once the place is no longer theirs and she throws the keys that she’s worn as a chatelaine at her mother’s feet.

Saracho’s reworking of Chekhov is vivid in its dialogue and visceral in the chances that it takes. Teatro Vista’s cast renders earthier performances than one will find in a delicately balanced Cherry Orchard, but nothing that isn’t absolutely appropriate to time and place. Not only does the production never veer into overwrought territory, it instead awakens us to a version of ourselves under similar conditions. What could be a more enlightening evening in the theater than that?

Rating: ★★★½

Carlo Lorenzo Garcia and Bert Matias - El Nogalar.

April 6, 2011 | 0 Comments More