GALA, which stands for Grupo de Artistas Latino Americanos has worked wonders with the old Tivoli Theatre. Built in 1924, it was originally an opulent 2,000-seat movie house. It was greatly damaged in the riots in 1968 following the death of Martin Luther King, Jr. and was eventually closed in 1975. GALA had transiently moved from space to space since it was founded in 1976 without ever really finding a home. The group began renovating the old theatre as part of the development of Columbia Heights, and this year, just in time for their 30th Anniversary, GALA has a home.
The gorgeous 270-seat performance space is tucked in an upper corner of the old theatre, offering an intimate feeling as though everyone in the audience is friends. Below is the lobby, which has the feel of a swanky cocktail bar and is currently displaying the works of local artist Gregory Ferrand. The stage is beautiful, the seats are comfortable (except for tall people, who will have very limited leg room) and the original ornate dome gives the entire scene an air of timelessness.
Still better than the performance space are the actual performances there. GALA kicked off its season Saturday night with "Te Quiero, Muneca" ("I Love You, Doll"), a hilarious sci-fi satire about a film critic who buys a robotic wife because he "can't relate to flesh and blood" women. But not even the doll can meet his idea of perfection, and as he modifies her again and again, even she becomes fed up with his expectations. Let the battle between the sexes ensue.
The doll, Nora (Ana Veronica Mu¤oz), bears the heaviest acting load, and does so with grace, poise and a sharp sense of humor. Her very physical acting makes the idea of a robotic wife, and all the problems that would come with one, believable and funny. And the contrast between her character in the first and second acts shows her range and skillful handling of two entirely distinct personalities.
The film critic, Andr?s (Carlos Castillo), begins a bit stiffly (almost more robotic than the robot herself), and is quickly eclipsed by the other members of the cast. However, he really lets his character come alive in the second act, when he begins to connect with the audience. His joy when the "doll" begins to act how he had hoped and his willingness to learn and change to make her happy are endearing enough to make the audience hope for the eventual success of his relationship.
The neighbors Ram¢n and Rosa (Luis Sim¢n and Lucrecia Basualdo) are truly hilarious. From Rosa's makeup to Ram¢n's kimono, the two keep the audience laughing throughout the entire show. Plus, they help push Nora and Andr?s to the breaking point in their relationship. With Ram¢n's musings about how men don't need women because they'll "always have soccer" and Rosa's desire to tour the Mediterranean, it's impossible not to fall in love with these characters.
The doctor (Eva Salvetti) offers the opportunity for a truly biting critique of men, their desires and their lack of satisfaction with what they have. As she questions Andr?s about how he wants the doll to act, she exposes his contradictions and indecisiveness. She also uncovers his insecurity and fear of rejection. This foil makes Andr?s more human as the audience realizes that he is not trying to change the doll so much as change parts of himself. Salvetti plays the role with just enough sarcasm to be funny without being mean, and she impressively manages to make the audience take her character seriously despite her Star Trek-style hairdo.
Costume designer Alessandra D'Ovidio hit all the right notes in this play. Nora looks like a 1950's Barbie, Andr?s looks like Weezer frontman Rivers Cuomo and the neighbors start buttoned up but gradually fall apart. D'Ovidio's use of color was both risky and successful, and her vision for Nora and Rosa's rebellion is more than just amusing.
Although it is performed in Spanish and the majority of the audience are native speakers, the English super-titles make it easy for even those that don't speak a word of Spanish to not only understand what is going on, but to thoroughly enjoy themselves. Plus, the translations are actually quite good, so very little of the humor is lost on the English-speaking portion of the audience.
But the best thing about "Te Quiero, Mu¤eca" is that it's professional without taking itself too seriously. It has a touch of the irreverence so often lacking in more traditional theatre companies without sacrificing any of the talent, making going to the theater fun instead of stuffy.
Cuban-born director Harold Ru¡z should be applauded for his work on "Te Quiero, Mu¤eca" and anyone with a chance to see it should go. With $18 and $24 student tickets, there's no excuse not to. So round up the gang, hop on the Metro and check out a slice of D.C. culture that most people are still missing out on.
