Any play which begins with white figures in cubic horse masks whistling loudly in anguish down kazoos is bound, at first, to be somewhat bombarding and confusing, especially if you are, as myself, versed neither in El Público’s language of delivery nor its surrealist medium. It is this kind of throughout-laden spectacle, however, compellingly executed by the cast and crew of Salvador Kent’s recent production, which brings to the fore the question, “What meaning does all of this hold?” Knowing … Continue reading Review: El Público