Founded back in 1984 as a political performance group, Culture Clash has come a long way, bebe! “Water and Power,” playing at the Mark Taper Forum, is an exciting, thought-provoking drama, which is a huge jump ahead of its last production, the rather lackluster “Chavez Ravine.” Here, the writing is crisp and clean, the story is engaging and the laughs come from natural situations.
Credit must go to Richard Montoya, the writer, who is one of Culture Clash’s gang of three. The others are Ric Salinas and Herbert Siguenza, and they all take on leading roles in the drama. However, acting honors must go to Dakin Mathews who is a sitting reality show as The Fixer. He is the behind-the-scenes manipulator, acting as a sort of Godfather in political circles. In his one and only scene, we learn how cynically the political machinery works. In a white suit with a bodyguard in the background, Mathews literally brings to his knees the state senator played by Montoya. The writing is brilliant, as is the acting.
The story revolves around twin brothers, Gilbert and Gabriel Garcia, who are playfully named Water and Power by their father, a ditch digger with dreams for his sons. The senator is “Water,” while his twin, “Power,” played by Siguenza, is a police officer. In intriguing flashback scenes, the father is shown teaching his sons how to be tough and get ahead as members of the minority Latino community. Winston J. Rocha is charming as the sensible father. Moises Arias, who plays both of the twins as young boys, is remarkable.
Another important role is well handled by Salinas, a sort of Latino Everyman, who serves as narrator and go-between. Confined to a wheelchair, he skims along the stage reciting poetry and obscenities.
Power, the police officer, is in serious trouble and calls upon his brother, Water, to help him. The senator finds him in a sleazy motel room trying to drink away his fears. Like so many twins in myth and literature, these men are strongly tied to each other and one must make a sacrifice to save the other.
The brotherly conversation may not be fit for sensitive ears, but the ring of authenticity dispels any reservations. Although many Spanish words are used and some of the humor may be lost on non-Latinos, everything is pretty clear.
The sets, by Rachel Hauck are simple and functional, while the costumes by Christopher Acebo are serviceable for this all-male cast. The directing by Lisa Peterson is smooth and clever, making good use of the thrust stage.
Culture Clash offers an insider’s look at the Latino presence in Los Angeles, an education with dramatic force.