Alfonsina
Director: Pedro Ilgenfritz
Alfonsina opens in Spanish. For a few minutes I’m panicked, thrown out of my comfort -zone, wondering how I can possibly review a play in a language I don’t understand - there are no subtitles in live theatre.
Alfonsina (Andrea Ariel) is gesturing furiously, speaking with the pace of a meth addict. Miraculously, despite the language barrier, I manage to grasp the gist of the situation simply through the tone of her voice, her over-the-top facial expressions and her flailing hands. Ariel’s command of Spanish is impressive. Despite this, it comes as a relief to discover the bulk of the play is in English.
Unitec lecturer Pedro Ilgenfritz directs a small cast of three in this light-hearted tale of an Argentinean cleaner who comes to New Zealand in search of work.
Alfonsina secures a job through her neighbour Hera (Katie Burson) and the two bond by bitching about their unreasonable boss Tracey (Genevieve Cohen). Things turn nasty for our heroines when Alfonsina buys a fake working visa from an unknown stranger and finds herself being blackmailed.
The entire Alfonsina production is fairly simple. A nondescript roll away table is the only piece of set, and even its lone presence becomes somewhat burdensome at times. The costumes are basic, but spot on. The script is simple also, which works effectively to convey Hera’s laid-back Kiwi style and Alfonsina’s limited English skills. Burson and Ariel’s performances are strong as the heavily stereotyped characters of Alfonsina and Hera. The pair have an enjoyable on-stage chemistry, with their various cleaning scenes a laugh-out-loud highlight.
Cohen’s pantomime style performance as Tracey is the only let down, to be blamed more on the character than the actress. The character’s abrupt personality change half way through the play seems unrealistic and unbelievable. And, although the plot hints at some depth in Tracey’s character it is never explored or resolved. Cohen’s musical contribution is, however, beautiful. It was a welcome surprise to discover she had been backstage on the guitar, and her voice, heard briefly at the play’s close, is beautiful.
Alfonsina manages to be simple and yet, at the same time, over-the-top. Somehow, it works, and makes for a highly enjoyable evening out.