THEATER REVIEW : Tales of Controversial Police Action Ring True in ‘August 29’

“August 29” is an alarmingly topical play.

As the Latino Theatre Company joins the sparse ranks of L.A.’s mid-sized theater groups in its latest home at Plaza de la Raza in Lincoln Heights, it’s offering a sizzling calling card.

“August 29” was born in 1990. Its collaborative creators were members of the Latino Theatre Lab, a wing of the Los Angeles Theatre Center company. They named their play for the date in 1970 when journalist Ruben Salazar was killed by a sheriff’s projectile while covering a large Chicano-led anti-war demonstration. The first production, at LATC, marked the 20th anniversary of Salazar’s death; now, with the LATC company gone and the Latino Lab transformed into the Latino Theatre Company, this revival marks the 25th.

The play addresses two cases of controversial police actions--one real, one fictional. Since 1990, of course, L.A. has survived that most disputed of all police beatings, Rodney G. King’s. More recently, it’s almost as if newsmakers tried to help promote the play. A month ago, police shot 14-year-old Antonio Gutierrez a few blocks from the theater, prompting a brief flurry of unrest. Last week, came the deluge of the Fuhrman tapes, raising many questions about rogue, racist police officers.

In the play, Lucero (Evelina Fernandez), a college history teacher and former Chicana activist, is writing a book about Salazar. But one of her students also has been shot by police in questionable circumstances, and her friends urge her to do something about it. They pressure her even in the midst of some spirited dancing at a nightclub.

Yet Lucero isn’t as interested in the current controversy as she is in her historical research. She long ago lost her political zeal. She fears that taking a stand now might endanger her comfortable niche.

Salazar (Enrique Castillo) returns from the dead for a chat with his biographer. She briefs him on what has happened since his death, including such post-1990 topics as the UCLA Chicano Studies hunger strike. Via flashbacks, she demonstrates her own activism and why it went sour.

Eventually the subject of the wounded student arises. Salazar challenges Lucero’s non-involvement. Lucero retorts that Salazar wasn’t always the “Chicano martyr” that he has since become.

This give and take between two characters who have shared similar inner conflicts makes “August 29” a bit more complex than the agitprop that one might expect. And the actors make their interaction come alive, despite excessively murky lighting. Fernandez’s long face is usually a mask of agonized soul-searching, which makes her occasional smiles more emphatic. Castillo has the measured calm yet darting curiosity of a gentleman who has returned from the dead.

Jose Luis Valenzuela’s cast finds humor as well as drama in the flashbacks. Karla Montana’s young Lucy brims with promise as a teen-ager who defies her father (Sal Lopez) and intrigues her mother (Angela Moya), only to be betrayed by a charming young weasel (Richard Coca) who’s assisting the all-purpose bad guy (Tony Maggio).

The scenes of Aug. 29, 1970, abetted by Gronk’s projections and a supporting chorus, achieve more of a panoramic feeling and fervor than at LATC five years ago. The seating here draws the audience closer to the action than in the severely raked Theatre 2 at LATC. Contrary to an earlier plan, however, footage of the recent Gutierrez incident is not used.

Predictably, Lucero finally rejoins the fray. The mechanics of this decision feel fake. Would she be named “Hispanic Historian of the Year” before she even finishes her book, at a televised ceremony attended by the mayor? Would she really jeopardize her career if she used that ceremony to denounce the police shooting of her student? Probably not. Otherwise, “August 29” rings true.

* “August 29,” Margo Albert Theatre, Plaza de la Raza, 3540 N. Mission Rd., Wednesdays-Saturdays, 8 p.m., Saturday-Sunday matinees, 2 p.m. Ends Oct. 1. $15. (213) 223-6403. Running time: 2 hours, 25 minutes.

Enrique Castillo: Ruben

Evelina Fernandez: Lucero

Angela Moya: Molly/Trini

Sal Lopez: Frank/Rudy

Karla Montana: Lucy

Richard Coca: Benny

Tony Maggio Williams/Wilson/Pittlock

Produced and written by the Latino Theatre Company. Directed by Jose Luis Valenzuela. Set, projections, costumes by Gronk. Lights by Jose Lopez. Sound by Mark Friedman. Original music by Marcos Loya. Choreography by Lettie Ibarra. Stage manager Ken Campo.