Word: luisa
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Mexico's economic crisis is not just a matter of concern for big-city bankers. It has also hit Maria Luisa de Lopez, the mother of seven children, who has illegally crossed the Rio Grande in search of a day's work as a maid in El Paso. Said she: "Potatoes, beans and chili peppers-that's all we can afford to eat. There's no meat, eggs or milk for us. I'm giving my children only one meal...
...Jukebox. Some of the notes, at first might seem self-indulgent. Names which are not innately powerful, and whose connotations are simply act controlled or dealt with-not even dismissed-are assembled, implying verbs and actions-but the leaves these actions to be guessed. So, in "Martita and Luisa," the name "Martita," in a direct address, starts the action; then the name grows larger than the description, ending the first section of the poem and becoming the object of a bizarre pathetic fallacy. A fallacy that fails to attribute empathy, human qualities or emotional action to nature, but rather...
...lines go from the sublime to the ridiculous with blinding alternation. Luisa is an unabashed romantic. She dreams of the far-off lands she reads about in her childhood adventure stories. But she inevitably takes this image of childhood romantic vision too far. Luisa tells how she sits and dreams--and then tells how she hugs herself until her arms turn blue. Again and again, a potentially moving moment is totally transformed with a wink of the eye, as it suddenly becomes absurd. An initially pleasant duet between Luisa and Matt (Vaughn Winchell) becomes odd--to say the least--when...
Koromilas and Winchell make a fine pair. Koromilas is a comically inspired Kewpie doll of a Luisa, sighing at far-off places, and swooning at the word "love." Winchell is a fine foil to this, lending his part the clean-cut earnestness it requires, even if he perpetually seems about to break into a smirk about the whole thing...
...times to mock the absurdities of love--Matt exclaims of a wall the fathers built between the lovers' houses, "they built it ages ago... last month"--in the end, it reaffirms a sort of worldly-wise romanticism. In one of the funniest numbers of the play, El Gallo shows Luisa the splendors of the world, and gives her a mask to wear whenever a fire or assault mars the picture. Such sarcastic images continually surface whenever the play's world-view seems a little too rosy...