REVIEW: THE ROAD TO YECORA by Desi Ivanova at The Hen and Chickens Theatre 19-22 October 2022
‘Dark humour, ridiculously funny incidents and unpredictable outcomes keep the audience at the edge of their seats’ ★★★★
The Road to Yecora is a pacy, daring piece with a dark, foreboding tone from the start. We first meet Murph trying to hitch a ride to get out of the stormy road in the middle of Mexico. Juan (Sebastian Capitan Viveros, fresh from his stage success in Moreno) is driving the hearse with his mother’s body in the back. He is not alone as Juanito soon makes an appearance as the music-loving, guitar-playing cousin of Juan. Together, the three head towards Juan’s mother’s funeral, many hours away in Yecora, searching for a petrol station on the way.
On the road, and during their pit stop, we learn more about the members of the vehicle. Murph is in Mexico because of a dastardly deed that is a mix of heinous and hilarious. He is offered help to find a job which is a far cry from his role as an accountant in LA, California. A brotherhood develops and devolves on this road trip as dark jokes are peppered throughout, until an unexpected incident changes everything.
The themes cover a range of topics from loss of a relationship, teen pregnancy, breaking stereotypes, masculine expectations, and cultural divides, though on a surface level. With a simple set, the hearse is the centre of the action and the sound technician worked hard to match the steering of the vehicle to the sound effects.
Dark humour, ridiculously funny incidents and unpredictable outcomes keep the audience at the edge of their seats. At 40 minutes, I could have sat in mine for longer, but I suppose it’s good to leave wanting more of a journey on the road to Yecora.
THE ROAD TO YECORA by Desi Ivanova at The Hen and Chickens Theatre 19-22 October 2022
Written and directed by Desi Ivanova
Performed by JT Stocks, Sebastian Capitan Viveros, Ricardo Dal Moro
Set Design: Ricardo Dal Moro & Desi Ivanova
Producers: Desi Ivanova & Ricardo Dal Moro
Reviewed by Mariam Mathew
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