Latino Theater Company presents the world premiere of Ghost Waltz. Written by Oliver Mayer. Directed by Alberto Barboza. Music directed by Alberto López. Produced by Latino Theater Company.

Attesting to the revival of magical realism, Playwright Oliver Mayer incorporates this genre into Ghost Waltz, a sublime play that imagines the traveling life of one the greatest Mexican composers of the 19th century, Juventino Rosas (Quetzal Guerrero), in his meteoric ascend to international success.

Of humble origins, Rosas was an Otomí born in 1868. He started playing music at an early age and was able to join the Mexico City National Conservatory. Eventually, he traveled to the US, playing in cities such as New Orleans and Chicago. In the play, Rosas is invited to the Conservatory by Professor Zeiss (Cástulo Guerra). Rosas’ father is played by Eduardo Robledo.

In Mayer’s story, Rosas meets soprano Ángela Peralta (Nathalie Peña–Comas) at the Conservatory, falling madly in love with her. In real life, Peralta, known as The Mexican Nightingale, was also a Mexican native who reached international recognition as an opera singer. Known in Italy as angelica di voce e di nome, meaning angelic by voice and by name, she performed in the prestigious La Scala in Milan and formed her own touring opera company. The achievements of Rosas and Peralta in the play highlight the success of these two figures of humble origins in the Mexican elite of the 19th century, dominated by Europeans and people of European ancestry.

But the rejection experienced by Rosas from Peralta is also a symbol of the conflictive relationship between Mexicans and their indigenous past. Peralta wears white makeup and a white dress to symbolize the effort to mask her native identity, avoiding the tragic destiny of the natives in Mexico, a life of invisibility.

Another relevant character is Scott Joplin (Ric’key Pageot), also known as the King of Rag. In the fictionalized world of Ghost Waltz, Joplin and Rosas meet in New Orleans and Rosas has a romantic relationship with Joplin’s companion, Bethena (Ariel Brown). The relationship between Rosas and Joplin implies the search of an identity through music. Rosas’ compositions gave Mexico an identity in the sophisticated and elitist world of waltz, a music inspired by German Romanticism.

Joplin started experimenting with different rhythms to achieve an African American musical identity that could be danceable but sophisticated at the same time, something like waltz. According to Marcello Piras, a distinguished music history professor, Joplin was inspired by Rosas in his search for that Black identity.

The Creole clairvoyant Marie Leveau (Monte Escalante) is the link to both cultures. Voodoo, a combination of religion, myth, practice and superstition, has an important influence in music. Both Rosas and Joplin found inspiration in the mystic Caribbean rhythms. Joplin in New Orleans and Rosas in Cuba and the many Cuban musicians that worked in Mexico at the time. These layers of connections and subtexts show Mayer’s creativity and sophistication as a playwright.

Guerrero, a classical-trained violinist, infuses his character with the sensibility of a talented artist and the determination of a man who refuses to give up pursuing his dreams. Peña–Comas shows the reason her career is ascending in the international scene. She has performed in the most prestigious stages around the world. Her captivating voice is an elegant touch to the production and adds depth to the performance. Pageot, a musician who has played with major acts internationally, demonstrates his extensive musical experience and plays his character with the ambition of a young artist eager to leave a mark.

Director Alberto Barboza extracts the spirit of the text and offers a magnificent production with an amazing score, talented performers, and impressive set design, all in coordination to express the magic of the short and fascinating lives of three characters that left a permanent impression in the world of music.

Juventino Rosas died of spinal myelitis in Cuba in 1894 at the age of 26.  Ángela Peralta died of yellow fever in Mazatlán in 1883 at the age of 38. Scott Joplin died of syphilic dementia in 1917 in New York City at the age of 48. In real life, Rosas played for Peralta during her last national tour. As a peculiar note, their remains are both resting in Mexico City’s Rotunda of Illustrious Men.

Ghost Waltz

The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles CA 90013

Performances: May 4–June 2
• Thursdays at 8 p.m.: May 9; May 16; May 23; May 30
• Fridays at 8 p.m.: May 10; May 17; May 24; May 31
• Saturdays at 8 p.m.: May 4 (opening); May 11; May 18; May 25; June 1
• Sundays at 4 p.m.: May 12; May 19; May 26; June 2

Tickets: latinotheaterco.org

Written by Oliver Mayer. Directed by Alberto Barboza. Music directed by Alberto López. Produced by Latino Theater Company.

Cast: Ariel Brown, Monte Escalante, Cástulo Guerra, Quetzal Guerrero, Ric’key Pageot, Nathalie Peña–Comas, and Eduardo Robledo.

Creative team: Production designers Cameron Jaye Mock and Emily Anne McDonald (set, costumes and projections), lighting designer John A. Garofalo, and sound designer Nathan Davis. The assistant director is Giovanni Ortega. Production stage manager Yaesol Jeong is assisted by Gina DeLuca.