The drama about community power and fighting oppression has plenty of relevance to current day

While Fuenteovejuna may not be the first play that comes to mind for modern theatergoers, its unique blend of historical context and contemporary relevance makes it a compelling choice. Written by Spanish playwright Lope de Vega in 1619, this Wheat Ridge Theatre Company production of it is a testament to their commitment to bringing important, thought-provoking theatre to the community.

Fuenteovejuna is a prime example of a classic that remains as relevant today as it was centuries ago, underscoring the timeless power of theatre. Wheat Ridge hits a high note with its production of Fuenteovejuna, directed by the company’s executive producer Maru Garcia.

Set in the village of Fuenteovejuna in Castile in 1476, Fuenteovejuna is a historic narrative of a power struggle following King Henry IV’s demise. The storyline, which at times mirrors the themes of the contemporary “Me Too” movement, portrays the incoming Commander (Jeamus Wilkes) oppressing women, often sexually. This stark correlation to present-day issues adds a layer of relevance and urgency to the play, making it a must-see for those intrigued by the fusion of history and social justice.

The play introduces us to Laurencia (Junelle Gabrielle Flores), who becomes a target of the Commander’s inappropriate advances. Frondoso (Bryan Sanchez), deeply in love with Laurencia, courageously confronts the Commander to shield her, setting the stage for a gripping conflict. However, Laurencia refuses to be a victim and rallies the villagers to resist.

In the meantime, Frondoso asks Laurencia’s father, Esteban (Daniel Sares), for her hand in marriage, and the wedding ceremony takes place. There is joy in the village until Laurencia is abducted by the Commander, fueling the villagers’ anger and their intended reprisal against him.  In their minds, justice is to be done, and overtaking the Commander is equivalent to finishing him off. The villagers’ solidarity strengthens the climactic ending by proclaiming that their village was responsible for the Commander’s ultimate demise.

(L-R) Braden Nash, Jeamus Wilkes and Colette Rubin | Photo by Tammy Marquardt

Slow burn

Garcia has taken the intense nature of the storyline and captured its relevance for today’s audience. Fuenteovejuna is a period piece, and Garcia has appropriately maintained that aspect in this production. By letting the words and actions speak for themselves, it makes for a universal reckoning. The play’s action starts slowly but rises to a remarkable pitch by the final curtain.

In the role of Laurencia, Flores is a perfect foil for the Commander and his diabolical behavior. She is vulnerable yet committed to his ousting. Unsure of her strength, her speech in the second act squashes any misgivings and is delivered with power and promise.

Sanchez, as Frondoso, gives another impressive performance at Wheat Ridge Theatre Company. Having grown into this leading role, he effortlessly attacks the storyline with dedication and force. His intentions are evident throughout, and he easily tackles the archaic dialogue called upon by the play’s age.

Wilkes is appropriately smarmy as the Commander, executing the character’s “love to hate” aspect with great aplomb. In the role of Esteban, Sares is a welcome addition to the metropolitan theatre scene, having just returned to his hometown from a stint in Cincinnati. He is confident and appealing as an actor.

Fuenteovejuna is filled with underlying themes such as the struggle against oppression, abuse of power and community involvement. Although written centuries ago, these are universal issues akin to the struggles humanity faces today.