A Zany Hunchback Takes Up Residence at Trinity

The Hunchback of Seville is a semi-satirical look at life in Spain in the early 16th century. It was a time of religious persecution, as anyone who was not Spanish or Catholic found themselves tortured and murdered in the name of Catholic fundamentalism overseen by the ruling classes.

Maxima (Phyllis Kay), the hunchback, is living a dreary existence in an ivory tower. Her sister, Queen Isabella (Janice Duclos) is dying and asks Maxima to serve as an advisor.  Meanwhile, Maxima pines for her lover, Talib Furozh, a Moor who is on the run. Isabella’s demented and power-hungry daughter Juana (Nicole Villamil) has her own plans and poses a threat to Maxima.

Playwright Charise Castro Smith tells this story by using modern-day language and cultural references, which garner easy laughs but seem gratuitous.

The play begins with Christopher Columbus (Jessica Ko) sailing to the new world and getting whacked across the chest with a plastic palm tree. Columbus breaks the fourth wall and addresses the audience. He is arrogant and boasts of having a holiday of his own. He also sings a Queen song, “We Are the Champions.”

The performers all seem to be having a ball bringing these wacky characters to life. The always dependable Trinity vet Anne Scurria is delightful as Espanta, Maxima’s nosy maid. I also enjoyed Joe Wilson, Jr. as Talib, who laments his plight: “I can’t believe I was born in such a shitty point in history.”

And herein lies the problem I had with The Hunchback of Seville. The play discusses serious themes  such as genocide and killing in the name of God, while  characters utter lots of profanities and sound effects fill the air. Castro Smith’s attempt to meld the darker side of human nature with a self-referential tone just doesn’t work.

There are also character decisions which make little sense. Juana is so over the top in her lunacy it is like watching a really bad Saturday Night Live sketch; and why would Isabella want to hand her kingdom over to a spoiled brat like Juana?

The technical qualities of The Hunchback of Seville, however, are well executed. Olivera Gajic’s costumes are inventive and a lot of fun to look at. Marsha Ginsberg’s dazzling set design features a giant wall filled with blinking multi-colored lights, along with a huge map of the world.

The Hunchback of Seville has so much going for it, yet in the end, I left the theater feeling unsatisfied.

The Hunchback of Seville runs through March 6 at Trinity Repertory Company. Tickets are on sale now and by phone at 401-351-4242, online at trinityrep.com, or in person at the theater’s box office at 201 Washington Street, Providence.