“Aztec Human Sacrifice” reviewed by Julia W. Rath

[rating=4]The world premiere of “Aztec Human Sacrifice” by Philip LaZebnik and Kingsley Day, with lyrics by Kingsley Day, tells a cute and clever tale, based on a relatively simple, straightforward theme. In keeping with traditional Aztec rituals and beliefs, the story is framed around The Chosen One, a man who must be killed so that the sun would rise again the next morning. If this important sacrifice does not take place, then it could very well spell the end of the world! This energetic musical production incorporates the spirit of the Aztec people and gives us a hint about their once prevalent civilization, while at the same time it is a romance, a fantasy adventure, a musical, and a comedy all rolled into one.

Such important religious sacrifices have taken place from time immemorial in the Aztec culture and have never been questioned, that is, until one fine day when the Chosen One (Freddy Mauricio) turns out to be an upstart. Although he has spent his whole life preparing for this momentous moment of fulfilling his destiny, the man doesn’t want to die! Rather than being praised for immediately joining with the gods in the afterlife, he wants to live out his life and seek romance and joy. So on the night in advance of the empire’s special millennium, The Chosen One suggests to the High Priest of the Sun (Luis Del Valle with his bold baritone-bass voice) to do an experiment and not kill him—and see if the sun will come up anyway. And if the sun doesn’t rise: oh, well! He and everybody else will all be equally dead!

Act One largely consists of how Chosen One escapes his handlers and continues to elude them. In the process of hiding out, he meets up with all sorts of people that are archetypes in traditional Aztec culture, including a band of prostitutes (played by Sarah Silva-James, Haven Sydney Denson, Madelynn Oztas). He accidentally gets roped into an ancient Aztec ball game, where he meets the game player (Nick Arceo) and the referee (Eric José Mendoza, who also plays the sorcerer). He often hides in plain sight while trying to keep one step ahead of the High Priest and those in authority who want to catch up with him. Eventually, the Chosen One takes cover as a fan holder inside the Emperor’s palace, and there he meets up with the Emperor (Miguel de León) and the Emperor’s daughter, a/k/a the Princess (Marcla Ossa Gómez), who is literally a mankiller. Other actors include Melbin Borrero III, Peter Kattner III, and Juan Velazquez.

While Act One is amusing and comedic, it is Act Two which is brilliant and highly imaginative. That is when a world of fantasy and spirits meet up with the Chosen One and the Princess. I won’t ruin it for you, but when the two of them finally give into their respective fates and understand their destined roles in life, that is when the story shines. The ending comes a bit too quick, but it is this very last portion that puts a frame around the tale. It makes us ask questions about the Aztec civilization and its existential meaning within the larger scope of history. Were all those sacrifices of human lives for naught—or for good reason? Did they help to preserve the Aztec culture and way of life and forestall the end of the world? And what exactly does the “end of the world” mean?

Kudos must go to violence consultant Paul Chakrin and intimacy choreographer Garrett Michael McCann. The violence inherent to both the sacrifice and murder of various characters is done exceedingly well. I liked the costume design by Andrés Mota; the garments are appropriate for this story. I particularly liked the detailed makeup, especially on the minor characters, in keeping with the spirit of the various Aztec gods. A relatively simple set by Ray Toler works well for this production, based on traditional art and architecture, that allows the audience to imagine the various settings that take place throughout much of the show. Lighting design by Eric Watkins is more than sufficient to tell this tale.

Since this show is a musical, there are a lot of fun numbers with great dance choreography, thanks to the fine work of Britta Lynn Schlicht in conjunction with suggestions by Henry Cervantes, the founder and director of Danza Azteca Xochitl-Quetzal, a Chicago Aztec dance company. The directing by Jay Españo is excellent, especially all of the fantasy/travel scenes in the second act. While my guest found the score to be a bit too repetitive, we both agreed that we really liked a lot of the songs. Our favorite was “Stuck Here with You”, where the Princess and the Chosen One yell at each other about how much they hate each other. I also really liked “Come into My Arms”, which is performed in the first act and then as a reprise in the second. While we don’t leave the theatre humming these songs, they are indeed memorable.

The musicians are absolutely wonderful, all of whom play with verve and finality. Conductor Annie Liu plays keyboard (often set to sound like an organ); Priya Fink plays flute and piccolo; and Lior Shragg plays percussion, including a vibraphone, set to play xylophone and marimba. Other percussion instruments include a glockenspiel, chimes, and a variety of drums: some that even look like upside-down mixing bowls—and that’s indeed what they are! (My guest and I happened to talk to the percussionist before the show began.) I will say, however, that the stand containing the chrome mixing bowls really shouldn’t be blocking the theatre aisle. Some modification in their placement might be safer and better for this production.

In all, this original story pays tribute to the Aztecs and to a lot of deeper aspects of their culture than what can be depicted in such a relatively short stage presentation. Although the show’s beating heart is explained to the audience within portions of the written program, we nevertheless watch the show with Western eyes. Today, we live several centuries after the Aztec civilization came to an undignified end. So even though the Chosen One appears self-centered and sociopathic for not wanting to sacrifice himself for the good of his people, we in the audience all know (with a snicker) that he is right: that the sun will rise again no matter what he does or does not do.

“Aztec Human Sacrifice” is playing through June 18, 2023, at City Lit Theatre, 1020 W. Bryn Mawr Avenue, Chicago. (Second floor of Edgewater Presbyterian Church.)

General Admission Tickets $34.00
Seniors $29.00
Students and military $12.00
(all plus applicable fees)

Performance Schedule:

Fridays and Saturdays at 7:30 p.m.
Sundays at 3:00 p.m.
Additional performances: Mondays June 5 and 12 at 7:30 pm

For more information or to purchase tickets, visit https://www.citylit.org/ or phone 773-293-3682.

“We understand not everyone is comfortable being in a crowd without masks yet, so City Lit still requires masks for our Sunday matinee performances. Masks are encouraged but no longer required for Friday, Saturday and our two Monday performances. City Lit staff will continue to mask for all performances. If you have already made a reservation and because of this information you’d like to switch performances, please let us know and we’d be happy to reschedule you.”

To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click at “Aztec Human Sacrifice”.