Unconventional ‘Hunchback of Seville’ at Trinity

By Don Fowler
Posted 2/17/16

Over the years, I’ve seen Phyllis Kay play a number of conventional and unconventional roles at Trinity Repertory Theatre.

Kay’s portrayal of Maxima Terrible Segunda, the hunchback adopted …

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Unconventional ‘Hunchback of Seville’ at Trinity

Posted

Over the years, I’ve seen Phyllis Kay play a number of conventional and unconventional roles at Trinity Repertory Theatre.

Kay’s portrayal of Maxima Terrible Segunda, the hunchback adopted daughter of Spain’s Queen Isabella, is about as unconventional and hilarious as it gets.

Charise Castro Smith’s satirical play, brilliantly directed by Taibi Magar, has five fantastic roles for women that allow them to explore a zany, cruel New World that parallels our present one.

“In Fourteen Hundred and Ninety-two, Columbus sailed the ocean blue…” an out of control Christopher Columbus sings as the lights go down and we are introduced to the Italian explorer as he lands in the New World.

Jessica Ko, a third year conservatory student plays, Columbus and then returns as Maxima’s new maid, ironically named Innocenzia. And keep your eye on Espanta (Anne Scurria), the nosy maid listening behind the closed door.

Poor Maxima has been confined to a castle tower while her sister Infanta (another third-year student, Nicole Villamil) is being groomed for the crown, as their mother approaches death.

The queen mother (Janice Duclos) has a secret that is not revealed until she is on her deathbed. Before she goes, she wants to convince Maxima to become her childish sister’s advisor, but first she must be convinced of her belief in God.

Maxima has opposing views on religion, politics and humanity in general. She is in love with a Moor (Joe Wilson Jr.) who fears for his death at the hands of the queen.

The story is told in a manic manner, with actors talking to the audience and using language that is at one moment profane and at another lyrical, as described by Kay as she talked to the audience after the Wednesday matinee about the juxtaposition of the New World language and manners.

While it gets a bit silly at times, especially when Infanta throws her childish tantrums, there is much behind the words and actions about prejudice toward those who are of different color (the Moors) and those who are handicapped (Maxima). There are also strong references to Spain’s “Christian” views toward its enemies, who are defined as anyone who gets in their way.

“The Hunchback of Seville” is performed in one roller coaster ride act, with sound effects and lighting (Peter Sasha Hurowitz and Dan Scully) that emphasize the absurdity and costumes (Olivera Gajic) that are as outrageous as everything else about this play.

It takes a village to put on a production of this immensity, which requires many other people in the background making sure that the lighting, sound, scene movement and entrances and exits happen with perfect timing.

While this play is a perfect vehicle for Trinity’s talented women actors, there are also excellent performances by Joe Wilson Jr. and Omar Robinson. And is that really Stephen Berenson under all that hair and uniform, making a grand entrance in the final moments?

“The Hunchback of Seville is at Trinity through March 6. You’ve just got to see this play. Call 351-4242 for reservations.

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