Ruby, Tragically Rotund
Roni B. Alvarez’s dramedy forcibly exposes how one family deals with a pretty daughter who is over-sized and therefore tragically viewed by her mother, who is as slim as a model.
In Alverez’ funny-but-sad play, Ruby (Ellen D. Williams) and her co- horts (Regan Carrington, Alison M. de la Cruz and Angel Felix, who act as commentators on the action, a lá Greek tragedy) are all plus-size young women. Ruby is the oldest daughter of an upwardly-mobile, but currently financially lower-level, family of four. Her youngest sister (Marc Pelina) has entered herself into a Miss Somebody-or-Another festival and has learned to play the cello as her part in the talent segment. But Ruby, with her boyfriend (Ofa) in agreement, decides to enter herself into the same festival, using her weight as a rebellious gesture towards the way society judges young women.
This, of course, sets off her nutty mother (the superb Fran de Leon) into a fusillade of hatred and vengeance. Thus the Greek climax. Ruby’s mom and dad are from the Philippines, and some of the scenes are spoken by the parents in a combination of Tagalog and Spanish, but, with the excellent acting by de Leon and Robert Almodovar as the passive father, they are clearly understood.
Sensitively directed by Jon Lawrence Rivera, the Philippine/African-American/Anglo cast make the most of this skewed-American tale. He wisely paints his characters in broad colors, allowing for telling humor, but some of his choices, unhappily, doesn’t pan out: specifically, the deliberate casting of a male to play the younger sister, Jemmalyn. Young Pelina doesn’t go to extremes with his drag (no falsies, for one thing) and most of his action is kept upstage in a small space where Jemmalyn practices on her cello. Rivera has the actor miming the playing (very well, too), while the authentic cellist, Katherine Lee, plays. But what is the ultimate point of having a real man play a fictional woman? More on how we infantilize or cheapen women? Not clear.
The set-design of Miguel Montalvo and the costume-design of Mylette Nora exaggerate the action extremely well, helping this over-the-top play to be as successful as it is.
For this critic, Alvarez’ insights are well-laid-out, with the Greek chorus of women mirroring the audiences’ concerns. But the freak-out ending is far too grand guignol, even for what is clearly a surreal play.
It’s always good to see theatre that deals with American sub-cultures, and the central character of Ruby definitely represents far too much of our fears of the plus sized (read: fat) in our culture. Rivera’s direction, the cast’s dedication and the playwright’s intent make this a more-than-good production, even if the surreal ultimately flounders on cliché.
At the Los Angeles Theatre Center, 514 S. Spring Street ($5 parking in a lot just immediately south of the LATC), through October 11th. Thur-Sat @ 8pm; Sundays @3pm. Reservations: 213.489.0994.