Survival of the artists: Writers’ ‘Two Sisters’ examines the power of art
“Two Sisters and a Piano” — 3 stars
A poignant scene occurs in the second act of “Two Sisters and a Piano,” Nilo Cruz’s 1999 play about the power of art to sustain and inspire, now running at Writers Theatre.
It unfolds as an impromptu dance between titular sisters: Maria Celia (Andrea San Miguel) and Sofia (Neysha Mendoza Castro). Maria is an acclaimed Cuban writer imprisoned for criticizing Fidel Castro’s government; Sofia, 12 years her junior, is a pianist.
Under house arrest in their comfortable, albeit faded family home, confinement slowly erodes their spirits. Relief comes in the guise of piano tuner and prospective dinner guest Victor (Arash Fakhrabadi), whose visit promises an escape from isolation and a bit of romance for Sofia.
In Writers’ revival, ably staged by Lisa Portes, dancing becomes an expression of unbridled joy for these young women. It’s the closest they will come to freedom — the desire for which is echoed in the vast cerulean ocean backdrop designed by Brian Sidney Bembridge. It’s also a touching reflection of how art can serve as a lifeline for the persecuted, one of several themes Cruz’s play addresses.
Set in 1991 Cuba, around the time of the Soviet Union’s dissolution, “Two Sisters and a Piano” is loosely based on the true story of Cuban poet and pro-democracy dissident Maria Elena Cruz Varela, who was attacked in her home, forced to swallow pages of her own writings and later imprisoned.
An early work, it contains the trademark lyricism that would define Cruz’s Pulitzer Prize-winning “Anna in the Tropics.” Additionally, Cruz’s characters are intriguingly ambiguous, particularly Lieutenant Portuondo (Adam Poss), the officer assigned to monitor Maria and Sofia. An admirer of Maria’s work, he asks her to tell him her latest story. In exchange, he reads portions of her exiled husband’s letters, correspondence the government has confiscated.
The attraction they develop for each other intensifies. Whether it’s fueled by loneliness, lust, a shared love of poetry or a desire to manipulate the opposition remains murky thanks to the enigmatic acting of Poss and San Miguel, whose performances leave us guessing in a most satisfying way.
More straightforward is the romance between the impetuous Sofia (played by Mendoza Castro as a combustible combination of desperation and naivete) and Fakhrabadi’s guileless pragmatist Victor, who well understands the risk of associating with a counter-revolutionary in Castro’s Cuba.
“Betrayal oozes out of everyone,” says Victor, “because no one has anything better to do than gossip.”
The detail that defines Writers’ production extends beyond the actors’ performances to the nuanced sound and lighting courtesy of designers Andre Pluess and Jason Lynch.
The play begins with Pluess’ wrecking sounds: discordant piano and breaking glass, which accompany government soldiers as they forcefully enter the sisters’ home for an “inventory” that is in reality intimidation. Later there is the faint echo of music from a neighbor and louder sounds of celebration, which the sisters are denied. Equally effective is Lynch’s ethereal, subtly shifting lighting.
The production is solid, although the Sunday performance I attended felt a bit under tempo. It’s the play that comes up short. Cruz’s assertion that art and human interaction ease the burden of isolation and loneliness is spot on. But he gives only cursory attention to politics, choosing instead to focus on melodrama: Maria and Portuondo’s torrid affair; Sofia’s heartache. For a play rooted in an actual act of civic defiance, it’s a missed opportunity.
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Location: Writers Theatre, 325 Tudor Court, Glencoe, (847) 242-6000, writerstheatre.org
Showtimes: 2 and 7:30 p.m. Wednesday and Saturday; 7:30 p.m. Thursday and Friday; and 2 and 7 p.m. Sunday through March 29
Tickets: $35-$95
Running time: About 2 hours, 15 minutes, with intermission
Parking: On the street
Rating: For adults; strong sexual content and implied political violence