Sizzling ëAnnaí Arena Stageís Production Does Justice to Pulitzer-Winning Play by Lisa Troshinsky Arena Stageís ìAnna in the Tropicsî is sneaky. Because it is slow moving, sensitive and understated, one is apt to think it is a harmless, provincial slice-of-life story, so we let down our guards. But that is playwright Nilo Cruzís hook. Before one can say, ìRoll another cigar,î the story ignites us by surprise, and weíre sucked in. The play drops audiences back in timeóinto steamy southern Florida circa 1929, in an old-fashioned cigar factory run by local Latinos rolling tobacco by hand, who listen as a handsome Cuban lector reads Tolstoy to themóand lets our imaginations sizzle. Playwright Cruz won the 2003 Pulitzer Prize for his study of relationships, art, the power of tradition and human nature. This production, directed by New York-based Jo Bonney, does his award justice. One of the playís most powerful elements is its simplistic premise. The women factory workers hire a lector (once a tradition in Florida cigar factories to entertain the illiterate workers), who reads to them the romantic and tragic love story ìAnna Karenina.î But this simple act sets off a chain reaction throughout the charactersósome of it good, some horrifying. The story tells of a sweeter, less complicated time when listening to a novel was reverenced. The characters are down-to-earth folk with real, universal emotions, and the action, based on the psychological drama of the characters, is gripping. ìNiloís plays have a great emotional resonance to them,î said Bonney, who makes her directorial debut at Arena, but has directed works by other contemporary playwrights, such as Lisa Loomer (ìLiving Outî), Diana Son (ìStop Kissî) and her husband Eric Bogosian (ìsubUrbiaî). ìIn ëAnna in the Tropics,í life and literature come together to ignite illicit love affairs, passion, betrayal and death among a small, intimate community of Cuban Americans,î the director explained. ìWhen a new lector starts stirring emotions by reading ëAnna Karenina,í everyone in the play is deeply affected.î And it is not hard for the audience to be swept along. The acting for this play calls for ìcharacter acting,î where no one steals the show, rather the cast work as an ensemble. This production succeeds in that endeavor. Although the plot revolves around Juan Julian, played by Jason Manuel Olazabal (who understudied the part, played by Jimmy Smits, on Broadway), he is really only the catalyst for the factory workersí actions. Olazabal, tall and dapper, portrays the sensual intruder with quiet intensity. Yetta Gottesman, who plays Conchita, Julianís conquest, starts off as just another cog in the work chain. But she emerges as a voluptuous, neglected wife in need of love, and strikingly honest with her husband about her yearnings. Her speech to husband Palomo in Act I is the moment when the story starts to creep into our hearts and we realize we are witnessing the dark crevices of peoplesí souls. Palomo, who is having an extramarital affair himself, is played with depth by Felix Solis, so much so that we see him as almost a victim of his machismo Latino legacy. Mateo Gomez and Marian Licha are convincing as Santiago and Ofelia, the older couple and owners of the factory who are in love and try to hold onto the old ways of their island life. Gomez is especially adept at his balancing role as the gambling, drinking, loving but guilt-ridden husband and father. Only the characters of ChechÈ, the scorned brother of Santiago, whose wife ran off with a previous lector, and Marela, the naÔve daughter of Santiago and Ofelia, are lacking depth. Michele Vazquez, who plays Marela, has the difficult task of giving credibility to an exaggerated character whose every reaction is nauseatingly gushy. However, because Vazquez is slight in frame and directed to keep her prattling relatively low-key, she doesnít interfere too much with the flow of the plot. And Chaz Menaóthe smoldering green-eyed monster, lurking in the shadows of the lector, ready to pounceócould have given more emotion to ChechÈ. Save for a moment in the script when ChechÈ becomes vulnerable with Santiago, Mena should have expressed more inner conflict through his nonverbal actions. But for the most part, credibility is what makes this production strong. This is probably because Cruz did extensive homework, studying the small town of Ybor City, Fla., and the people and cigar factories of that time. In addition, the set design by Loy Arcenas is delicate and realistic, and Scott Zielinskiís skillful use of shadows adds intrigue. But it is Bonneyís direction and the subtlety of the cast that ultimately can be given credit for bringing Cruzís story alive. ìAnna in the Tropicsî runs through Nov. 17 at Arena Stage, 1101 6th St., SW. Tickets are $40 to $59. For more information, please call (202) 488-3300 or visit www.arena-stage.org. Lisa Troshinsky is the theater reviewer for The Washington Diplomat.