At the Denver Center: A comedy about sisterhood with strong performances and a script that feels more suited for the screen
In the latest world premiere at the Denver Center for the Performing Arts Theatre Company, playwright Leonard Madrid takes audiences on a wild and bumpy ride with Cebollas. It’s a quirky comedy that packs a punch of sisterly love, New Mexican charm and some unexpected twists along I-25.
The play began its own journey as a reading at the DCPA Theatre Company’s annual New Play Summit in 2022. Set against the backdrop of the Southwest, Cebollas follows the misadventures of three sisters — Yolie, Celia and Tere — as they embark on an unconventional road trip from Albuquerque to Denver with a deceased passenger along for the ride. It’s a premise ripe with comedic potential and familial dynamics, and for the most part, it delivers.
The trio of sisters, portrayed by the talented ensemble of Zuleyma Guevara, Jamie Ann Romero and Xochitl Romero, share a palpable chemistry that brings their complicated sisterhood to life. Xochitl, in particular, shines as Celia, the quick-witted middle sister who delivers the sassiest zingers and the most heartfelt moments with equal finesse.
But while the cast delivers, the script itself falls somewhat flat, feeling more suited to the screen than the stage. Madrid’s writing tends toward cinematic dialogue and scenarios, which can sometimes struggle to translate effectively to live theater. For instance, many scenes rely heavily on intimate conversations between characters that might work well in a close-up on screen but feel oddly static on stage.
Additionally, certain plot points and character motivations could benefit from more subtle exposition or visual cues, elements more easily conveyed in film. The play’s humor, while occasionally laugh-out-loud funny, feels forced at times, relying too heavily on tired comedic tropes and predictable punchlines.
Director Jerry Ruiz does his best to keep the play moving along, and he is aided by game actors who thrust themselves into the material and do their best to breathe life into the somewhat clunky material.
One of the production’s standout features is the stellar costume design by Raquel Barreto, which effectively communicates each sister’s personality and journey through their wardrobe choices. From Celia’s nurse attire to Yolie’s casual yet stylish ensemble, the costumes add depth and texture to the characters, helping to bring them to life on stage.
Similarly, Carolina Ortiz Herrera’s lighting design adds depth and atmosphere to the scenes, particularly during the car sequences. However, the integration with the projection design by Alex Basco Koch and John Erickson is not always seamless.
Although the appearance of the car driving onstage elicited cheers from the audience on opening night, the pairing of the car with the projections was often disjointed. The car was frequently not aligned with the road on the projections, detracting from the realism of the scenes. Additionally, the realistic nature of the projections drew attention to the incomplete nature of the car itself. While it was initially acceptable for the car to lack doors or a roof when it first appeared, the discrepancies became more glaring when compared to the realistic elements on the projections.
I found the placement of set pieces, such as a casino and diner in full view of the audience, undermined some of the dramatic tension. For example, there was no suspense regarding whether one of the characters would relapse into her gambling habits while a slot machine was visible onstage throughout the performance.
Overall, Cebollas is an entertaining romp that offers plenty of laughs and heartwarming moments, but it falls short of fully realizing its potential. Despite its shortcomings, the play’s exploration of sisterhood and the bonds that hold us together is ultimately what resonates most, leaving audiences with a renewed appreciation for the ones they love, even in the most unconventional of circumstances.
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