At the theater:

Zoot Suit revived at the Goodman Theatre

By Michael Giocondo

CHICAGO - Zoot Suit, a spectacular play that exposes racism, the abuses of the corporate press and an individual's interior battle with good and evil, opened here to a standing ovation at the Goodman Theatre.

Zoot Suit, based on the true story of four Chicanos living in Los Angeles in the early '40s who were charged with murder after the press whipped up anti-Chicano hysteria, is the powerful work of Luis Valdez, the founder of El Teatro Campesino.

First produced in 1977 in Los Angeles, the musical became an instant hit and had a run which a half-million saw. Then it went for a short showing in New York. Despite its brilliant writing and tremendous appeal it has been staged only once since its first opening over twenty years ago and has never before played in Chicago.

After seeing it, one readily sees why it had stayed on library shelves. It is too political, and the message is from the lips of a Communist Party member. It is the role of Alice Blumfeld that theater producers can't accept. She's a communist and a reporter for the "Daily People's Worker" and later a enthusiastic supporter in their defense.

However, it is to the credit of the Goodman Theatre and its decision makers that Zoot Suit is staged once again and they have done so with top-notch performances, excellent acting and alive, moving, jazzy dances.

There are many sides to this musical. In one aspect it reveals the early '40s in Los Angeles when the growing number of second generation Mexican immigrants were searching for their own independent place. We're told that the "zoot suit" was an expression of that search - a suit made from wild patterns with a long suit jacket, wide tapered pants worn with an exaggerated chain that draped the right pant leg and to top off the slick style a very wide brimmed hat.

The suit style itself came from the working class, as many new "anti-in" styles are and was worn by young men across the country: Italians in Chicago, Blacks in Harlem and Latinos in the barrios of Los Angeles.

The suit becomes one of the story's focuses, from the opening scene when El Pachuco, played dramatically by Parrish Collier, slinks out in his suit, which sparkles with sequins, and assumes the roles of master of ceremonies and moral judge.

But it was not the zoot style that got the four Chicanos in trouble, it was the press. A press that pumped up the zooters threat to the "American Way" with stories of gang crime and violence. Front page stories on gang fights and then the murder of a gang member leads to the arrest of Enrique Renya, (Gustavo Mellado) the leader and other members of his 38th Street gang.

The play demonstrates the influence of the press, in particular the Los Angeles Times Herald. Stacks of newspapers appear throughout the play and the paper's reporter shadows Renya and then dances with glee when the verdict of guilty is announced following the youths' blatantly biased trial.

Standing in opposition to the bias of the bourgeois press is Alice (Amy Landecker), reporter of the "Daily People's Worker." She interviews the accused and believes their innocence. She tells them that because she is a Jew she can understand their oppression. She leads the mobilizing of a defense committee, helps to raise funds and writes to them in jail to keep their spirits up until an appeal is heard.

Music and dance take major roles in this play, the music of the '40s, that is hot jazz along with swirling jitterbugging. The stage swings as couples twirl and flip each other around and three lanky, sexy singers belt out their songs.

This is a play the Chicago audience felt one with and loved. It is one that is ready to take to the road around the country. Its message is from yesterday but it is just as poignant in today's bigoted and racist world. The present production is scheduled to end July 30.

Zoot Suit at The Goodman Theatre 200 S.Columbus Dr., Chicago (312) 443-3800