BWW Reviews: Talented Cast Shines in Woolly Mammoth's THE ELABORATE ENTRANCE OF CHAD DEITY

The theme of Woolly Mammoth Theatre Company's 2012-2013 season is "My Roots, My Revolution."  Kristoffer Diaz's The Elaborate Entrance of Chad Deity (a Pulitzer Prize finalist in 2010) fits this theme well.  The cast tasked with bringing it to life, under the direction of Woolly Company Member John Vreeke, largely succeeds in highlighting the strongest aspects of the monologue-heavy script, which focuses, oddly enough, on the world of professional wrestling.  

The Elaborate Entrance of Chad Deity first premiered at Victory Gardens Theatre in Chicago and later received an Off-Broadway production at Second Stage Theatre and an Obie Award for Best New American Play (2011).   We first meet Mace (short for Macedonio Guerra), a long-time fan of the "art" of professional wrestling since childhood, who has realized his dream of being a professional wrestler.  He's committed to his craft and has worked steadily for THE Wrestling though never achieving super fame.  Mace is the little guy that's required to- in the highly scripted world of wrestling- make superstars like Chad Deity, not known for their athleticism but their showmanship, look great.  As he comes to grips with his place in the wrestling community and the larger world, he examines how his own Latin ethnic identity and modest New York City roots have shaped who he has become as a person and a professional.  At the same time, E.K.O. (the overseer of THE Wrestling) uses ugly cultural stereotypes to catapult the African American Chad Deity and newcomer VP (a man of Indian heritage, but forced to portray a Middle Eastern Islamic fundamentalist) to superstardom.   

To this end, Diaz's story combines body slamming wrestling moves (mostly seen in Act II) and long sociology-infused monologues about ethnic identity.  The heavy reliance on monologues, particularly in Act I, hinders Diaz in conveying the interesting and novel story.  Mace's Act I monologues, much to the chagrin of this audience member, are repetitive and designed to repeatedly hit audience members over the head with single ideas that are derived from sound sociological theories, but presented in a simplistic way.  Though the narrative sidebars are still present in Act II, Diaz is much more effective in letting the actual story be the focus. It would be more compelling and productive if Diaz allowed Mace to tell the audience where he came from in the first few minutes of the play and then, from there on out, trusted the audience to identify the social message in the action rather than mostly relying on Mace's narration to explain the situation at hand and what the takeaway message should be.  Mace has compelling insight on his situation at times, but there is simply too much of it.

José Joaquín Pérez (Mace) has the most daunting challenge as he is onstage nearly the entire play and is either explaining a situation to the audience, engaging in wrestling moves, or involved in intense dialogue with his nemeses "backstage" at wrestling venues.   Pérez gives an energetic and committed performance and his charm is infectious.  He makes the best of the long monologues he's been given to deliver and seems to have a solid understanding of what makes his character tick. 

The flashier characters in the script also work thanks to the fine acting talent of Michael Russotto (E.K.O.), Shawn T. Andrew (Chad Deity), Adi Hanash (VP), and James Long (a professional wrestler making his theatrical debut as several of VP's opponents).  Russotto manages to portray the domineering and slick master of THE Wrestling with both charm and authority.  Andrew excels with the comedic one-liners Chad Deity spouts throughout the play and has perfected the cocky attitude necessary to play this superstar.  Hanash demonstrates considerable range as he transforms from an eager and confidence athlete to someone whose wrestling is more about uncomfortable theatrics and less about sport.  Long (who also serves as Assistant Fight Choreographer) explodes in his Act II scenes as a professional wrestler adhering to a script of who wins and who loses, but also executing precise moves.

Jennifer Perry has been a DC resident since 2001 having moved from Upstate New York to attend graduate school at American University's School of International Service. When not attending countless theatre, concert, and cabaret performances in the area and in New York, she works for the US Federal Government as an analyst. Jennifer previously covered the DC performing arts scene for Maryland Theatre Guide and DC Metro Theater Arts. In addition to writing for BroadwayWorld, she covers cabaret and musical theatre-related concerts for DC Theatre Scene.

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