The Elaborate Entrance of Chad Deity at Circle Theatre
“The Elaborate Entrance of Chad Deity,” written by Kristoffer Diaz (2011), tells the story of a professional wrestler who, in order to continue living his American dream, must portray weakness and conform to the racist and xenophobic ideals of the company he works for. Circle Theatre’s interpretation, directed by Alejandro Saucedo, walks a fine line, incorporating comedy into a delicate topic that leaves the audience feeling uncomfortable.
“Why are they rooting for the bad guy?” asks VP’s girl at the end of the play, summarizing the core feeling this story seeks to engrave in our hearts. Why do we, as people of color, have to play into stereotypes to entertain those who won’t accept us into their circles? Why can we, as immigrants, easily picture the face of someone pretending not to understand us, as if our accents were too confusing? Why do we, as dreamers, have to accept that our dreams have now become a business, forcing us to dance to the beat of money’s drum? Who told us we didn’t have the power to change this? These are the questions that come to mind as we witness the absurd situations Chad Deity (Nate Davis), Macedonio “Mace” Guerra (Alex Rocha), and Vigneshwar “VP” Paduar (Prem Desai) endure throughout this play.
We sit facing a wrestling ring, with two screens divided by a hallway. The space is adorned with wrestling posters advertising various events like a “Sensational Ladies Contest,” “Mexican Wrestling Night,” and the renowned “WrestleMania.” The atmosphere feels exciting and vibrant. Even before the play began, Tony DiBernardo’s setup made me feel anxious about the experience I was about to witness.
The lights go out, and we see the silhouette of Everett K. Olson (Brett Warner), who announces Macedonio Guerra with such force that it heightens the expectations we already had from just looking at the stage. We’re expecting an epic warrior, a fully realized character, and a bold personality. Then Mace starts talking to us about his childhood, what led him to become a wrestler, and how his job is to make the bad wrestlers look good. But with forgotten lines, nonexistent actions, and a rushed delivery that muddled his words, Mace drains the energy we had built up before his introduction. However, when Rocha starts incorporating actions into his performance, his precision and body control ignite a spark I wish I could have seen from the beginning. Chad Deity then enters the stage with a high level of confidence that stays with him throughout the play. The way Davis introduces his character makes us immediately understand who he is. Davis leaves no doubt about the hierarchy on stage—everyone knows Deity is the favorite. Later in the play, we get to hear more personal stories from Deity, where I would’ve loved to see Davis explore more dimensions of his character to maintain or even increase the brilliance he emanated when he first entered the stage.
Everett K. Olson, CEO of THE Wrestling, represents the media that seeks to exploit its employees. Warner immediately lets us know his character’s objective: he is only interested in what sells; he only wants money, no matter the cost. Through the way Everett rushes into his actions, we understand that, for him, time is money. He is firm and shows no hesitation in using racial slurs or making ignorant comments. Warner clearly conveys that Everett sees his employees as cards he can play with.
Mace introduces his friend VP, a sharp-witted Brooklyn native of Indian descent. From the moment VP steps on stage, we understand his background, his comfort in any environment, and the significance he places on each situation. Just as VP effortlessly charms the girls around Brooklyn, Desai captivates the audience, imbuing his character with so much personality that we can’t help but root for him throughout the play. Through Desai’s portrayal—his walk, talk, and mannerisms—we get a clear sense of VP’s roots. As the story’s turning point, VP embodies the frustration and exhaustion of being an immigrant. Desai channels this energy powerfully when VP decides to pursue his own dreams rather than serve a company that profits from hatred towards people like him.
Another standout aspect of this play is Hope Cox's costume design. Each outfit told us something about the character and was crafted with such attention to detail that I was captivated and eagerly explored every little nuance. Even when elements from different cultures were intentionally blended into a single character's costume, they somehow came together seamlessly, creating a surprisingly cohesive and delightful visual experience.
As I mentioned earlier, incorporating comedy into a narrative about racism requires walking a fine line—there’s a risk of making the audience laugh at you instead of with you. After Act I, a palpable discomfort settles over the audience, almost making you want to escape. However, Act II brings a more human, relatable tone to the story, ultimately making the experience worthwhile.
RUNNING: Through Oct 26, 2024
VENUE: Circle Theatre, 230 West Fourth St., Fort Worth, TX 76102
TICKETS: https://www.circletheatre.com/