Aurora's Motive

Chris Jones, Chicago Tribune

“In a decade of theatrical life, "Theater With a View" has introduced this city to talented new writers, explored the aesthetic movement of magic realism, and helped collapse barriers by giving dramatic voice to the experiences and concerns of Chicago's Latino population while speaking inclusively to folks of all races.

Frequently working in collaboration with large troupes like the Goodman or Steppenwolf Theatres, such fine Teatro Vista productions as "Cloud Tectonics" live on in the memory. For its world premiere of Jamie Pachino's historical drama, "Aurora's Motive," Teatro Vista is going it alone at the Chopin Theatre. And on Sunday afternoon, at least, that resulted in an audience of eight.

How depressing. There are certainly many theatrical choices, but this moving and ambitious play from an immensely talented writer alone deserves full houses. When you add a crisp, fluid, truthful, fast-paced and generally excellent production from Edward F. Torres, the empty seats are even more irritating. But to crown it all, Julia Neary turns in a deep and compelling performance of a quality that you will struggle to find in any other Chicago production.

Neary, an actor who impressed several years ago in various Powertap Productions and has been sorely missed, plays Aurora Rodriguez, an angry feminist Spanish idealist at the turn of the century. Despising male oppression, Rodriguez advertises in a newspaper for a man to impregnate her (no relationship permitted, thank you) and aims to give birth to a girl who will change her lousy world.

Aurora did indeed produce a prodigious daughter, Hildegart (Robin Margolis). While her offspring was a brilliant teenage student, mother and daughter had peace. But once the younger Rodriguez tried to make her own way, Aurora's world blew apart.

Not only does Pachino introduce us to a character most of us know little about, but he skillfully universalizes the mother-daughter conflict so that any child who has ever rebelled from parental control, or any parent who has given up a precious fledgling, becomes emotionally engaged.

Against an intellectually stimulating backdrop of socialist politics (no more immune from sexism than monarchy), Pachino crafts a personal tragedy. Aurora is too unyielding in places for this character treatment to be entirely credible. But, assuming some small adjustments, this play deserves a major production.

Hopefully Neary will be along for the ride. At once strong, vulnerable, manipulative and unflaggingly energetic, Neary avoids stereotype and forces us to care about her ill-used character. She may not go quite as deep, but Margolis is still impressive. The supporting men--who all play several roles--are uniformly excellent. And with a simple but remarkably effective set design from Rob Martin, director Torres tells this compelling historical tale with speed, truth and heart”.