Review: ‘Floating Islands the Family Business; After the Revolution’

Maria Josefa,

Maria Josefa,

Manuela … Miriam Colon

Arturo, Oscar, Alfredo … Victor Argo

Manuela, Rosa, Clara,

Mimi … Marissa Chibas

Mario, Osvaldo … Shawn Elliott

Ernesto, Alfredo … Jaime Sanchez

Oscar Hernandez, Osvaldo,

Miliciano, Oscar … Joe Urla

Manuela, Sonia … Josie de Guzman

Hugo, Pedro, Adam … Yul Vazquez

With: Alma Cuervo, Kamala Dawson, Wanda De Jesus, Rosana De Soto, Gloria Mann , William Marquez, Tim Perez, Ramon Ramos, Rick Telles, Patricia Triana.

For the first half of his two-part play cycle “Floating Islands,” playwright Eduardo Machado fulfills, as he is quoted saying in the program, his “desperation to express my family’s history,” with sizzling, marvelously pointed theatrical strokes. But then the sizzle fizzles.

It is no secret around the Mark Taper, where the play arrived on a groundswell of bicoastal hype, that feverish rewrites, additions and subtractions had taken place practically up to opening-night curtain, and that at nearly six hours, it was already nearly an hour shorter than intended.

The impression remains, however, that the shearing process was incomplete at curtain time, leaving the play in a similar state.

What is good about this play is exceptionally good, but it all happens early.

The Marquez (aka Machado) family take the stage first in spring 1928. Cuba’s president, Gerardo Machado (no relation), lays a heavy hand on the island’s economy; yet the men of the family acquire a fleet of buses and set up commuter traffic between their small town and Havana.

Business flourishes, even as the corrupt leadership of Fulgencio Battista, Machado’s successor, further drains the economy. Young liberals look to the rising star of Fidel Castro as a savior.

Castro takes over in early 1960 and immediately outlaws private property. His goons seize the bus line, and wipe out civilian protest. The turmoil is splendidly encompassed on Eugene Lee’s thrust stage, backed by corrugated iron gateways that clank menacingly.

Sweeping the action along here is some taut ensemble work, fashioned by director Oskar Eustis from a superior cast, including the wonderful Miriam Colon.

But with hardly any historic sweep to motivate the action from then on, Part 2 evolves into a more tenuous dramatic fabric.

Following the futile struggle to save the bus lines, there seems nothing left for the family but squabbles and mistrusts.

The action moves on from 1960 to the early 1980s, but doesn’t really get anywhere.

The cast is never less than capable, but it’s often confusing to have a character at different ages portrayed by new actors while the original actors move on to other roles.

The plays are presented in single parts during the week, and as doubles on Saturday and Sunday. Seeing them as singles avoids some of this confusion; in any case, six hours of Machado’s brand of languish and anguish makes for a grueling long day’s journey.

Floating Islands the Family Business; After the Revolution

(Mark Taper Forum , L.A.; 760 seats; $ 35.50 top for each part)


The Center Theatre Group/Music Center of L.A. presents a play in two parts by Eduardo Machado. Director, Oskar Eustis.


Set, Eugene Lee; costumes, Marianna Elliott; lighting, Paulie Jenkins; sound, Jon Gottlieb; music director, Jeff Rizzo. Artistic director, Gordon Davidson; producing director, Robert Egan; managing director, Charles Dillingham. Opened, reviewed Oct. 23, 1994; runs through Dec. 11. Running time, each part, 2 hrs., 50 mins.
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