Theater can be so much more than entertainment. Cygnet's current production tells of a mere dot in the history of France. A very interesting dot, at that. In Las Meninas we are in the court of France's Louis XIV with his Spanish Queen Marie-Therese, a marriage of political import. Louis was a womanizer, practically ignoring his queen. Enter Nabo Sensugali, an African dwarf servant to the Queen. He fills a need in her. The result is biracial Louise Marie-Therese, who is quickly dispatched to a Benedictine convent, where she eventually took her vows.
Director Sean Murray has also creates a regal and quite simple set. Rich are the wood panels, trimmed in gold, that border the set as well as framing two large mirrored surfaces built into the back wall. Thus, the environment represents several areas in the Louvre. The mirrored surfaces occasionally bring the audience into the action. Eric Lotze's back and side lighting provides two fully-lighted images of some of the characters, bringing added emphasis to them and creating a unique illusion.
Murray's casting and direction infuse this tiny period of history with vitality. He chose Robin Christ as his Queen Marie-Therese, providing her with a challenge that she meets majestically in her most exciting role to date. The Queen is many personalities, depending on whom she is with.
Christopher Wylie is Nabo Sensugali. The staging of his entrance is brilliant. His characterization of Nabo never allows the Queen to be in total control. The development of their relationship is subtle. Wylie and Christ play off each other well. He offers up an African dance in a rather interesting -- some would say shocking -- costume.
Monique Gaffney, as Marie Louise-Therese, also acts as a scene-setter/narrator. As the story of the Queen and Nabo advances, so does Marie's, as she readies herself to be a nun. She has an exciting dance, revealing her African heritage.
Daren Scott's King Louis XIV is properly pompous. He plays up the king's obvious lack of knowledge and understanding of things scientific amusingly and flaunts the king's womanizing. In a word, a completely believable portrayal. Judy Durning as the Queen Mother was a delight, which was contrasted in her role as Mother Superior.
Rachel Carey, Jim Chovick, David Serpa, and Amanda de Treville Sitton added much in their roles. Jose Marie Martinez Ybarra's regal costumes complemented the talent as well as defining the period. Sound Designer George Ye's musical selections both classical and African are to be commended.
Playwright Lynn Nottage's Las Meninas, as seen on the Cygnet stage, is grand theater. The performances are very good, the leads excellent, and the tale is one that historians barely made as a footnote. Cygnet, again, has provided San Diego with a professional production.
