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| Cesar and Ruben |
It’s not often that a musical can entertain, inspire, and educate, but Cesar
and Ruben is just such a musical. Writer, director, costar Ed Begley has taken a
page out of recent California history and fashioned one of the most moving
pieces of theater I’ve seen.
Cesar and Ruben is the story of Cesar Chavez, Mexican American farm worker,
labor leader, and civil rights activist. As the play begins, Chavez has died and
somewhere (heaven with a jukebox?) he meets Ruben Salazar, the Mexican-
American news reporter killed by the police in 1970, who takes him back on a
journey through his life. (In an amusing moment, a slightly disappointed
Chavez asks Ruben, “Why you? Why not Bobby Kennedy?”)
We meet Chavez as a youth, encountering anti-Mexican prejudice wherever
he goes. (At the movies, he is told he must move to the Mexican section of
the theater.) He falls in love, marries Helen Fabela, and they have eight
children in rapid order (a very funny sequence). Chavez soon becomes
involved in the plight of exploited farm workers, leading to the “No Uvas” (No
Grapes) boycott. Cesar and Ruben charts the ups and downs of Chavez’ life,
in biopic fashion.
What makes Cesar and Ruben come alive is not the book, which doesn’t have
time to delve too deeply into Chavez’ life and psyche, but the superb
performances and the spot-on choice of songs.
Danny Bolero IS Chavez, in a performance rich in feeling and sprinkled with
humor. He is matched by the beautiful Chrissy Guerrero, touching in the role of
Helen. The two possess absolutely gorgeous voices, and their love duet Nunca
Te Olvidaré (I’ll Never Forget You) is a tear-jerker extraordinaire, not once but
twice. Other standouts in the cast include sassy Sandra Purpurro as NFWA co-
founder Dolores Huerta, dynamic Gustavo Rex as the bigoted farm boss Naylor
(he tells workers spraying poison on the grapes that it’s “medicine”), Begley
and his wife Rachelle in a variety of roles, and Eli Vargas, who as young Cesar
possesses the voice of an angel. Dan Domenech, the charismatic young
costar of Sister Act and Altar Boyz, once again stands out in a number of
supporting roles.
In the performance I attended, understudy Benjamin Perez, usually in the
ensemble, did fine work as Ruben Salazar, who tells Cesar he is there to “help
you see the things you need to remember.” Perez is a very good actor, with
the commanding presence and strong voice the role requires.
The other members of the outstanding cast do passionate and inspired work:
Shane Arenal, Danielle Barbosa, Al Coronel, Claudia Dolph (of What’s My Line
On Stage), Josette Owens, Mario Rocha, assistant choreographer Karrisa
Thomas, Charles Woodruff(great Bobby Kennedy imitation), and Frankie Anne
(the choreographer going on as an understudy).
One of the smartest decisions made by Begley was to stick to mostly well
known songs by famed performers, thus we recognize and have an immediate
emotional response to such tunes as Peter Gabriel’s Don’t Give Up, Sting’s
Fields of Gold, Enrique Iglesias’ Heroe, the hip-hop beats of Control Machete’s
Si Señor, and additional songs by Ruben Blades, Santana, David Crosby, and
numerous Latin American songwriters. Cuando cantan en español, the English
lyrics are projected on a large screen above the stage, which is also used to
show actual photographs of Cesar and his family and newsreel scenes from his
life (including moving footage of his funeral).
Sensational musical director Ron Snyder at the piano leads a great five piece
band. Frankie Anne’s choreography is inventive and well executed by the
cast. Luke Moyer has fashioned a evocative lighting design, and Shelly Lyn
Erdmann and Michelle McKee’s costumes are just right for the characters and
the era. Stephan Szpak-Fleet and Bangbay Siboliban deserve special mention
for their visual effects, projected above the James Jeremias’ set. Thanks to
Alfonso Calvo’s sound design, the voices are clear and perfectly mixed.
In the end, it is the inspirational life of Cesar Chavez, complemented by stirring
music and excellent performances, that makes Cesar and Ruben such a
rewarding experience. When Helen Chavez and the spirit of her late husband
reprise Nunca Te Olividaré at the end of the production, there may have been
some dry eyes in the house, but they certainly weren’t mine.
NoHo Arts Center, 11136 Magnolia Blvd., North Hollywood; Thursdays, Fridays,
Saturdays @ 8:00, Sundays at 3:00 and 8:00 Box office: 818-508-7101; Extended
through September 23.
--Steven Stanley
and Ruben is just such a musical. Writer, director, costar Ed Begley has taken a
page out of recent California history and fashioned one of the most moving
pieces of theater I’ve seen.
Cesar and Ruben is the story of Cesar Chavez, Mexican American farm worker,
labor leader, and civil rights activist. As the play begins, Chavez has died and
somewhere (heaven with a jukebox?) he meets Ruben Salazar, the Mexican-
American news reporter killed by the police in 1970, who takes him back on a
journey through his life. (In an amusing moment, a slightly disappointed
Chavez asks Ruben, “Why you? Why not Bobby Kennedy?”)
We meet Chavez as a youth, encountering anti-Mexican prejudice wherever
he goes. (At the movies, he is told he must move to the Mexican section of
the theater.) He falls in love, marries Helen Fabela, and they have eight
children in rapid order (a very funny sequence). Chavez soon becomes
involved in the plight of exploited farm workers, leading to the “No Uvas” (No
Grapes) boycott. Cesar and Ruben charts the ups and downs of Chavez’ life,
in biopic fashion.
What makes Cesar and Ruben come alive is not the book, which doesn’t have
time to delve too deeply into Chavez’ life and psyche, but the superb
performances and the spot-on choice of songs.
Danny Bolero IS Chavez, in a performance rich in feeling and sprinkled with
humor. He is matched by the beautiful Chrissy Guerrero, touching in the role of
Helen. The two possess absolutely gorgeous voices, and their love duet Nunca
Te Olvidaré (I’ll Never Forget You) is a tear-jerker extraordinaire, not once but
twice. Other standouts in the cast include sassy Sandra Purpurro as NFWA co-
founder Dolores Huerta, dynamic Gustavo Rex as the bigoted farm boss Naylor
(he tells workers spraying poison on the grapes that it’s “medicine”), Begley
and his wife Rachelle in a variety of roles, and Eli Vargas, who as young Cesar
possesses the voice of an angel. Dan Domenech, the charismatic young
costar of Sister Act and Altar Boyz, once again stands out in a number of
supporting roles.
In the performance I attended, understudy Benjamin Perez, usually in the
ensemble, did fine work as Ruben Salazar, who tells Cesar he is there to “help
you see the things you need to remember.” Perez is a very good actor, with
the commanding presence and strong voice the role requires.
The other members of the outstanding cast do passionate and inspired work:
Shane Arenal, Danielle Barbosa, Al Coronel, Claudia Dolph (of What’s My Line
On Stage), Josette Owens, Mario Rocha, assistant choreographer Karrisa
Thomas, Charles Woodruff(great Bobby Kennedy imitation), and Frankie Anne
(the choreographer going on as an understudy).
One of the smartest decisions made by Begley was to stick to mostly well
known songs by famed performers, thus we recognize and have an immediate
emotional response to such tunes as Peter Gabriel’s Don’t Give Up, Sting’s
Fields of Gold, Enrique Iglesias’ Heroe, the hip-hop beats of Control Machete’s
Si Señor, and additional songs by Ruben Blades, Santana, David Crosby, and
numerous Latin American songwriters. Cuando cantan en español, the English
lyrics are projected on a large screen above the stage, which is also used to
show actual photographs of Cesar and his family and newsreel scenes from his
life (including moving footage of his funeral).
Sensational musical director Ron Snyder at the piano leads a great five piece
band. Frankie Anne’s choreography is inventive and well executed by the
cast. Luke Moyer has fashioned a evocative lighting design, and Shelly Lyn
Erdmann and Michelle McKee’s costumes are just right for the characters and
the era. Stephan Szpak-Fleet and Bangbay Siboliban deserve special mention
for their visual effects, projected above the James Jeremias’ set. Thanks to
Alfonso Calvo’s sound design, the voices are clear and perfectly mixed.
In the end, it is the inspirational life of Cesar Chavez, complemented by stirring
music and excellent performances, that makes Cesar and Ruben such a
rewarding experience. When Helen Chavez and the spirit of her late husband
reprise Nunca Te Olividaré at the end of the production, there may have been
some dry eyes in the house, but they certainly weren’t mine.
NoHo Arts Center, 11136 Magnolia Blvd., North Hollywood; Thursdays, Fridays,
Saturdays @ 8:00, Sundays at 3:00 and 8:00 Box office: 818-508-7101; Extended
through September 23.
--Steven Stanley
