Below are critical reviews and news stories featuring Marcela and her productions.
The engine of the story is about the relationships between characters in this particular family,” she said. “At the same time, you sense the wrongs of racism and classism, but there are no evil people in the play. The dark forces are the forces of society around them. Click here for the full article
Article: Guthrie’s major celebration of all things Kushner kicks off, April 17, 2009
— Besides being a mouthful to say, the play “Vanya and Sonia and Masha and Spike” brims with characters, conflicts and craziness. Check off Chekhov, too. At the core of Christopher Durang’s comedy is the relationship of two sisters (Sonia and Masha) and a brother (Vanya) — and change.
Using a version written by Irish poet Seamus Heaney, director Marcela Lorca has created a production that feels timeless. More impressive than its timelessness, however, is its timeliness. It’s the right story to be telling now, because it’s classically tragic and eerily relevant.
Director Lorca, best known for her years of work at the Guthrie, employs a deep bag of tricks in staging the show, showing us the many strings that connect all these characters, while backdrop videos help to set the cultural and political stage.
A good script alone, however, does not a good performance make. Director Marcela Lorca brings this beautifully arresting play to life, and makes it move. It’s no surprise that Lorca often serves as the Gurthrie’s movement coach.
“So, I think that theater has tremendous power to bring people together and look at the same issues that maybe you’re fatigued about … but now you can see them through fresh eyes and through a fresh mind set,” Lorca said.
Lorca leaped at the chance to direct The Clean House at Juilliard. “It combined so many things I love. I wanted to direct a comedy because I’ve directed my share of tragedies lately,” she told The Journal. “It’s got great female roles. And it addressed the issue of cultures and encounters between cultures, and I was very interested in that.”
Akhtar provides no easy answers in Disgraced, but raises provocative questions and issues that deserve attention, and cannot be resolved by changing immigration policies, requiring special identification, or building walls.