Manipulation advertises itself as “one woman’s struggle for freedom and self discovery” utilizing Latin America’s tradition of “magic realism.” Like an SEO (search engine optimization which makes it easy to find an article because of carefully inserted words or phrases) these facets are certainly present in the production.
The very attractive Cristina (Marina Squerciati) is married to a wealthy, admittedly womanizing, industrial titan (Mauricio-Robert Bogue) who, when he deigns to notice his wife, treats her like a possession. To call the heroine a romantic is like defining Harlequin Romances as warm and fuzzy. Free to buy anything or travel anywhere (on her own), she’s starved for affection and personalized sex. Her “struggle” is the overcoming of fear (without evident reason) of leaving him and of redefining herself outside his large shadow (which she only seems to attempt through other men.)
Cristina’s mother, Beatriz (Saundra Santiago), a one woman Greek chorus, suggests taking a lover. “Look for a healthy, naïve man who will be flattered…” She tells her daughter that Mauricio is the price she has to pay “to be safe.” Right on cue, there are guns shots and dark revolutionary figures behind the scrim on a platform above the action. Though the rebels make an actual appearance later in the play—Christina falls for one she calls the poet—no further explanation of their presence is given. For all we know they may be a metaphor.
There are lovers—one innocent, one manipulative—and a rape, provoking mild hysteria; visits to a psychoanalyst; speeches breeching the 4th wall; and violence which we’re never quite sure has happened. Magic realism is evidenced by operatically scored dreams with marionettes, moments predatory men occupy the same space, and possibly, the climax. The staging is far more interesting than its obtuse, pretentious content . We never care about the vapid, shallow Cristina.
Marina Squerciati (Cristina) does her best portraying a character who offers few defining attributes. When emotions are allowed venue, they’re effective. Under multiple handicaps, the actress shows signs of much greater talent..
Saundra Santiago (Beatriz) is confident and focused. Each appearance draws audience attention from wandering. While much on the stage is larger than life, Santiago gives us a comprehensible, accessible woman. Her timing is well honed. She deserves better.
None of the men are very good, though Rafi Silver (Luis) has moments indicating he might be under other circumstances.
Director Will Pomerantz has created an aesthetically attractive production. Bill Stabile’s Scenic Design is striking, effective, original and stylish.
Photo at top, by Carol Rosegg, Saundra Santiago, right, Marina Squerciati.
Manipulation by Victoria E. Calderon
Directed by Will Pomerantz
Cherry Lane Theater
38 Commerce Street
Through August 21, 2011
Telecharge 212-239-6200
www.telecharge.com
