The feel of Pride Month inundates the Cervantes Theatre with this LGBT-themed play dealing with the trials and tribulations that takes just to be one’s true self. Guillermo Nazara shares his views on this production, to let us know more about a show exploring a basic right that’s currently at stake.
What did you dream of becoming when you were a child? Some longed to be pirates and find adventures all around the planet. Others were a bit more realistic and wished to turn into football stars. And a few craved for the impossible – not because it was not feasible, but because society had deemed it wrong, or even worse, a joke. A joke that however meant everything to those who had been cast away from the rest – rejected just because they didn’t (and couldn’t) align with what they were expected to be.
As the vibe of 2023 Pride inundates London, the Cervantes Theatre turns its stage into the dazzling decadence of an underground club. Taking us to the clandestine allure of Barcelona’s 70s nightlife, Broken Toys tells the story of a boy named Mario (and a soul called Maria… or Marion) and their struggles to break from the chains of a hostile world he never asked to be a part of. Written by Carolina Roman and translated into English by L. Finch, the play acknowledges the bravery of LGBT community and their fight for equality with sufficient empathy and respect, but unfortunately fails to project such feelings onto its audience.
From the scarring abuse we’re forced to face from a very young age (even in our own homes) to the brutality systems like Franco’s regime brought upon our people, the script does go more or less thoroughly about the difficulties of being regarded as a common enemy (or preferred victim), but never manages to expose the depth those issues carry. Yes, Mario (later Maria) often expresses the pain and conflicts they’re going through, but never achieves to make it understandable to the viewers. We can’t relate, even if we’ve been in a similar situation – perhaps, too, because the structure falls to provide the necessary emotional arc to make it meaningful.
Directed by Raymi Ortuste, the staging is no doubt the biggest accomplishment featured in this production. Taking us through an immersive trip on our way down the auditorium, we’re presented with a first glimpse of drag queen Dorin in her dressing room, as we descend the stairs into the party (and inner hell) that’s about to unravel. Displaying impressive lighting design by Luca Panetta and a compelling set by Elliott Squire, the visuals are more than capable at establishing a more than enticing narrative, but unfortunately, those values are not shared by the script’s unorganized (and to sadly, also unfulfilling) outlining.
Parting from a more than laudable premise, Broken Toys undergoes, in some manner, the same strife as its fictional counterpart: it knows what it stands for, but deals with too much confusion as for its themes and, all in all, what it’s really trying to tell. Less subplots and a more profound exploration of its topics is what this play needs to actually rise up to the surface. Because to tell a broken story, you need a pristine piece.
Broken Toys plays at London’s Cervantes Theatre until 1 July. Tickets are available on the following link.