Performance depicts Mayan apocalyptic story
Marshall Theater hosted Teatro Milagro’s presentation of “B’aktun 13” on Sept. 28. The play was a bilingual representation of the upcoming Mayan apocalypse, which is scheduled
Marshall Theater hosted Teatro Milagro’s presentation of “B’aktun 13” on Sept. 28.
The play was a bilingual representation of the upcoming Mayan apocalypse, which is scheduled to hit at the end of the 13th B’aktun or Mayan calendar cycle.
The production’s confusing plot focused on three Mexican immigrants, all from different social standings, that were deported on the eve of the world’s destruction and were trying to make their way back to the United States.
The show was bilingual with about half of it in English and the over half in Spanish. Each character shared their individual story among the hell storms from the Mayan deities; Ixchel, the goddess of water and the moon, and Ah Puch, the Mayan god of death, who was portrayed by Dañel Malán.
Sal, played by Ajai Terrazas-Tripathi, was an American-born overachiever who regretted never learning about his Spanish heritage and occasionally transformed into a jaguar.
Rio, played by Daniel Moreno, was a sassy, homosexual drag queen, prostitute and drug dealer who adorned himself with butterfly face paint and dreamt of a life without limitations.
Finally, playing Luz, a runaway prostitute with a bad temper, was Linfield alumna Tricia Castañeda-Gonzales. Castañeda-Gonzales graduated in 2009 with a major in theatre arts and currently lives in Portland, where Teatro Milagro’s main stage is located.
The play was extremely modern. The actors wore only black tank tops and black shorts, and the set consisted of a painted backdrop, a trunk and a few seashells.
The hour-long production involved a lot of chanting in unison, dramatically stepping around the stage and the more than often banging of simple wooden instruments to set the tone.
Throughout the production, at least a dozen people got up and left the theatre and never returned. The play was free for anyone who wanted to see it.
This thespian travesty was written by Dañel Malán, whose goal in writing it was to push boundaries and inform the audience about social injustice.
After the actual play, the cast did an open Q-and-A session, where more than one of the remaining audience members had to ask “What just happened? What was this play about?”