"Demented, exuberant and appropriately angry, Vélez Meléndez’s play borrows from European absurdist theater, like the plays of Jarry and Genet, as well as a tradition of Latin American surrealism. As directed by David Mendizábal, who also designed the irrepressible costumes, the show takes place less in an office than in a shimmering theater of the mind."
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"4/5 Stars! Vélez Meléndez's play eviscerates norms of genre and gender with a piece that morphs, in the flick of a false eyelash, from agitprop to drag revue to horror show to moving portrait of self-acceptance...This show is raw, overwrought and often on the verge of going off the rails. It's also ambitious, discomfitingly insightful and—in its dissection of the vicious loops of oppression, be they personal or political—as pointed as a stiletto heel."
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"Part agitprop invective about Puerto Rican independence, part miniaturized drag spectacle, Mara Vélez Meléndez’s play deliberately confuses categories, scrambling them together to establish a spurious comparison: the freedom of Puerto Rico as a metaphor for internal liberation (or vice versa)."
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The parade of parodies unrolls like the competition on a ballroom runway, the entire enterprise putting one oddly in mind of Jean Genet's The Balcony (another exercise in politics and roleplay). Whether wildly caricaturing these gray financial experts as drag divas makes any sense is open to question. Even more questionable is the fingering of living person as targets for assassination…And, even in a fast-moving, turbocharged production such as this, the playwright's need to make travesties of all seven board members adds nothing to the overall argument… A play about the importance of personhood never seems to know what it is about.
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