For one, this play makes skilled usage of a refreshing blend of African American, Latino, Asian and Caucasian cultural imagery---not usually the case on and off Broadway. EEOD is also very well acted and keeps the audience’s interest from start to finish. And though the Pulitzer Prize nominated EEOD is chock-full-of heavy socio-political and ethno-cultural commentary, its satirical slant, flashy interludes, and high flying action lighten up the atmosphere just enough so that is not preachy or over the top with is stinging observations and profound insights.
Now playing at Second Stage, EEOCD under the brilliant direction of director Edward Torres (finally a Latino director that we can write about), who knows how to glamorize and electrify a production. Kudos to an outstanding design team - Brian Sidney Bembridge (set), Christine Pascual (costumes), Jesse Klug (lights), Mikhail Fiksel (sound) and Peter Nigrini (projections). Together they were able transform the theater into a bona fide wrestling arena complete with wrestling ring and large screen video screens to amplify the ENTRANCES and EXITS of some hilariously flashy, actors in tights. Chad is played brilliantly by Terrance Archie—a brother who loves himself, his chiseled body, his fame, not to mention his money that literally falls from the sky (or ceiling in this case) as he makes his elaborate entrance. Equally mesmerizing is the performance of Vigneshwar Paduar (Usman Ally), a low-key multilingual Indian-American hipster from Brooklyn who must now be recast as “The Fundamentalist,"—a Middle Eastern if he is to become a nationally known wrestler--- one of many body slams EEOCD dishes out to American marketing, greed, ignorance and cultural insensitivity.
Be prepared to be fully engaged with extraordinary narrator, Macedonia Guerra ( Desmin Borges) who jumps in and out of the action to tell the true story.
BOTTOM LINE: EEOCD is simply not to be missed. Loads of fun!!!! Worth your time and money.
BAW
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