I wasn’t sure that I would enjoy “Mexodus” because of its reliance on live-looping music tech, with a score composed, recorded, and replayed nightly on stage. But what I experienced on opening night were two super-talented artists, Brian Quijada and Nygel D. Robinson, staging an emotionally charged, historically-based story accompanied by exceptional, original music and songs that touched my heart and got me moving.
The two-person performance is based on a little-known phenomenon in US history: thousands of enslaved people escaped to freedom in Mexico through a southern underground railroad. After declaring independence from Spain in 1821, Mexico began to abolish slavery, and in 1837, the Mexican Congress outlawed it, freeing all foreign enslaved people upon entering Mexico. The signage in the Rep’s Peet’s Theatre lobby clearly explains the fascinating history.
“Mexodus” is the story of Henry (Nygel D Robinson), a Black man who flees slavery and prosecution for murder in Texas, crosses the Rio Grande during a storm, and is saved from drowning by Carlos (Brian Quijada), a former Mexican soldier of the Mexican-American war. The two have an uneasy relationship as Henry heals from injuries. Both have lost their families, live with regrets, and no longer have much trust in humankind. Together, they suffer through a devastating flood and the danger of Henry’s capture. As they co-exist, a connection forms that benefits them both.
As a live loop musical, the two actors/musicians produce and record a live music score nightly on stage. The score combines spirituals, Latin rhythms, folk music, ’90s R&B, rap, and hip-hop sounds. The artists record a small music segment, then play it back, add more instruments and beats, and re-record. Between the two, 15 digital and analog musical instruments are played — from bass fiddle to washtub. And the music and singing are simply terrific. The combination of Robinson’s singing, acting, and stage presence leads to an unforgettable performance. Quijada’s talent with looping, his music, and acting chops, and his heartfelt story about his own family’s anti-Black prejudice make him every bit an equal partner.
Ably directed by David Mendizábal (who also designed the costumes), “Mexodus” is set on an open barn-like interior, filled with lots of music and recording equipment, backed by a corrugated metal moving wall (scenic design by Riw Rakkulchon). The set is augmented with affective projections (Rasean Davante Johnson) that dramatize Henry’s search for freedom.
Seeing “Mexodus” reminded me of why I love theater. Two creative artists developed a new and innovative genre of theater that is unexpected, exciting, and satisfying. Their musicianship and storytelling are extraordinary.
I highly recommend “Mexodus” — it’s an enthralling experience.
“Mexodus” runs through October 20, 2024, at Berkeley Rep’s Peet’s Theatre, 2025 Addison St., Berkeley. The running time is approximately one hour and 45 minutes, with no intermission. Masks are encouraged but optional for performances from Wednesday through Saturday. Mask-wearing is required in the theatre on Sundays (matinees and evenings) and Tuesdays for the first three weeks of the show’s run. Post-show discussions and closed captioning are available at specific performances. Tickets, $47-$106, plus a $9 order fee, with lower prices for those under 35 years, among other discounts, subject to change, can be purchased online at www.berkeleyrep.org or by phone at 510.647.2949.
This article was originally appeared on Berkeleyside.com
By Emily S. Mendel
© Emily S. Mendel 2024 All Rights Reserved emilymendel@gmail.com
