‘Barrio’ Tells Everyman to Be Good

The late 15th century morality play “Everyman” was written, as the stained-glass windows were stained, to give lessons in proper living to the highly illiterate population of the times. Pictures and theater were the textbooks of the day.

As a rather odd opening production of its new space, Alternative Repertory Theatre in Santa Ana has commissioned from Roy Conboy the modern, Latino-flavored adaptation of this simplistic drama.

Simplistic because it is a Sunday school lesson. In “Barrio Everyman,” El Hombre (Ben Ortega), is summoned to die. Death, here Loca Muerte (Leonna Small), tries to show the man his errors: his selfishness, vanity and greed. In the end, El Hombre realizes his sins and saves himself from an eternity in hell and saves Loca Muerte from an unfavorable report on her annual employee evaluation.

Most of these “moralities” are addressed with big muscles in the better Hollywood films. And a majority of people can read. So the effect of a modern-day “Everyman” must depend on theatricality, splendor and wit.

Director Patricia L. Terry has tried hard to give her staging splendor, but, since the new space isn’t very much bigger than the Santa Ana space they left in 1997, that’s difficult.

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Conboy’s script, heavily leaning on the Latino teatro style, here a sort of “magic realism” without much of either, has charm and great dollops of humor, but not much wit. The dialogue is frequently repetitious, and the moral points are sophomoric.

The theatricality is there. Frank Romeo, as the Singer, sets a mood of commedia dell’arte, and Cyrus Parker-Jeannette’s choreography, though not much dance, is visually attractive. Terry’s blocking is poetic, but some of the languid tempos are not at all in the style.

Particularly relaxed is the reading of Small as Loca Muerte. Even her tendency to overact would be enhanced by picking up her cues. Ortega, as El Hombre, could also improve his crayon-colored portrait by closing up some of the gaps.

Laurie T. Freed giggles and shrieks to good effect as El Hombre’s Soul, and Romeo has a restraint and control as the Singer that works well. All of the company look good and sound good but suffer from the problem of being generic characters, looking for a brand name for the audience to identify with.

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“Barrio Everyman,” Alternative Repertory Theatre, 125 N. Broadway, Santa Ana. 8 p.m. Thursday-Friday; 2 and 8 p.m. Saturday; 2 p.m. Sunday. Ends Feb. 27. $22-$25. (714) 836-7929.

Ben Ortega: El Hombre

Leonna Small: Loca Muerte

Laurie T. Freed: Soul/Death Minion

Frank Romeo: Singer/Strength/Death Minion

Alecs Vidosola: Friend/Partner/Nurse/Five Wits/Death Minion

An Alternative Repertory Theatre world premiere production of Roy Conboy’s adaptation of a medieval morality play. Produced by Gary Christensen. Directed by Patricia L. Terry. Scenic design: Suzie Duval. Lighting design: Jamie McAllister. Costume design: Karen J. Weller/Clarice Mondeel. Headpieces/special props: Christensen. Sound design: John R. Fisher. Original music: Patrick Jeannette. Choreography: Cyrus Parker-Jeannette. Stage manager: Julia Stormont.