By John Thomason
By Benjy Caplan
By Artburst Miami
By Carlos Suarez De Jesus
By Daniel Reskin
Agüero, a well-trained actress who also has studied dance, does not hide behind her skill and instruction. On the contrary she conveys raw emotion and evocative experience. Cecilia relives events of the salon of her girlhood in Havana and her first interracial love affair. Themes of patriarchy and oppression are explored but emerge and vanish as naturally as Cecilia's varied personas; the work is stronger for this. One may not even recognize pieces of red-and-blue cloth topped by a white glove on the floor as the form of a Cuban flag, and perhaps be better off for it.
Agüero's style is dreamlike but enigmatic and very convincing. Long ago Agüero hoped to create a theater company that represented a panorama of ethnic backgrounds and artistic disciplines. She planned to call it the Multicultural Laboratory Theater. When she couldn't find the right participants and resources, Agüero realized she could do it alone. Through her study of Eastern philosophy and Asian dance and movement such as kabuki and tai chi, she embodied what she had hoped for in her theatre company. Thus Teatro Incongruente was born.
In Ceremonia Inconclusa she employs a red fan to communicate in a way that is almost Morse code. While talking she punctuates her sentences with a flick of the wrist. Or she lingers, letting the fan open like the tail of a peacock. Indeed Agüero's performance is so intimate, theatrical, and dance-oriented, even a non-Spanish-speaking theater lover would benefit from checking it out.