In the Classroom of Prof. Johnny Leggs, 'Latin History for Morons' Is Delivered With Light, Heat and a Lotta Heart

John Leguizamo proves that he is a graphic artist in "Latin History for Morons." Photos by Matthew Murphy.

BY TAMARA BECK

YOU paid your ticket, and honestly, it's on par with what Dr. X has been charging for your 50-minute hour.

The question is whether John Leguizamo's Latin History for Morons, at Studio 54 in an extended run through 25 Feb. 2018, is your therapy or his? Either way, your 100 minutes give you more than your fair share of entertainment and food-for-thought.

As is his wont, JL sprinkles intimate details amid quips and dance routines. He boasts, as is also his wont, of his street cred with something like a diffident bravado. He is a charmer.

Director Tony Taccone could have tightened the pace a touch, but JL's observations are clever and wide-ranging: from the current sexual harassment charges pouring out of Hollywood, to politics, to centuries of oppression of Latinos.

Rachel Hauck's classroom set centers on a large blackboard on which JL imparts the Latin history (Add graphic artist to his resume, which already includes stage star, screen actor and author).

The artist has a catholic (with a small "c" – look it up) knowledge of the world, hence "Latin History for Morons" is quite illuminating.

It is also heartfelt and heartwarming.

Visit https://www.latinhistorybroadway.com to learn the more about "Latin History for Morons."

A Tale Straight Outta Brooklyn in 'Brownsville Bred'

Elaine Del Valle uses song, dance and humor to help tell her story in "Brownsville Bred." Photos by Ron Marotta.

BY TAMARA BECK

ELAINE Del Valle, a kind of female John Leguizamo, tells her personal history with sincerity and gusto.

The Latina from Brownsville, Brooklyn doesn’t have JL’s edge or anger, but she matches his captivating energy and exuberant charisma. In “Brownsville Bred,” at 59E59 Theaters through 31 July, EDV generously shares her life in a frank and moving narrative. As she recounts the disquieting story of her childhood in the 1980s in one of New York’s notoriously dangerous neighborhoods, EDV presents a portrait of a girl full of savvy innocence and wonder.

“Brownsville Bred” was developed by EDV with Wynn Handman, artistic director of The American Place Theatre, as part of the One Act Festival in NYC. It grew out of EDV's solo show at the Nuyorican Poets Café and expanded into a full evening program when it played in Los Angeles. It moved from L.A. to Westchester’s The Schoolhouse Theater under the direction of Pamela Moller Kareman who brings it to its off-Broadway run.

Elaine Del Valle grew up in tough circumstances but maintained an optimistic outlook about which she reminisces in "Brownsville Bred."

Her mother, EDV says, “always found ways to be happy” and it seems that that good nature passed on to her daughter. EDV relates some very distressing incidents without asking for sympathy, although her stories might elicit a few tears. Because she can see the bright side of things, “Brownsville Bred” is unexpectedly funny and entertaining.

EDV raps, sings, dances and impersonates the characters in her lifestory. There are tragedies in the telling, but also plenty of inspiration and fun. Her warmth, wit and intelligence are as fetching as her looks.

Elaine Del Valle takes a breathtaking journey down memory lane in "Brownsville Bred."

The performer emerged from poverty and family tragedy to act in films, including “Donnie Brasco,” “Tales from the Crypt: Demon Knight” and “Undercover Dora” from the “Dora the Explorer” series. Brownsville may have bred her, but EDV is an impressively self-made star doing a turn in a gutsy, compelling and original must-see show.

Visit http://www.59e59.org/ to learn more about “Brownsville Bred.”

Elaine Del Valle & Friends Post-Mortem

TALK-BACKS offers a chance to join rising star Elaine Del Valle for a discussion after the final two Sunday performances of “Brownsville Bred” at 59E59 Theaters. After tomorrow’s performance of her one-woman show, EDV and playwright Candido Tirado (“Celia: The Life and Music of Celia Cruz” will lead the conversation. On Sunday, 31 July, she and Daniel Gallant, executive director of Nuyorican Poets Café, will offer an after-performance perspective on “Brownsville Bred.”

Serious 'Ghetto Klown'ing From Johnny Legz

John Leguizamo's comedy in "Ghetto Klown" is informed by just about every decade of his life, including the 1960s, the decade of his birth. Photos by Carol Rosegg.

BY TAMARA BECK

THANKS goodness for John Leguizamo’s impulse to bare his soul in public. In his hands, confession makes for exceptional entertainment.

Fame has not dulled the pain of his childhood memories or weakened his skill in retelling them.

“Ghetto Klown,” his latest Broadway offering at the Lyceum Theatre through 15 May, covers some of the same ground as his Tony-nominated “Freak,” the self-described “Semi-Demi-Quasi-Pseudo Autobiography.” The presentation and production, however, are fresh and of the moment. From Broadway, JL is taking the show to Toronto in November. (See a performance video at http://ghettoklownonbroadway.com/pics-vids/)

The performer has made the misery of his home life well known in a series of one-man performance pieces. In “Ghetto Klown,” he also tells tales on his costars and directors from his experiences in making films over the years. On the set of “Executive Decision,” he fought with Kurt Russell, and battled with Patrick Swayze on “To Wong Foo Thanks for Everything, Julie Newmar.”

JL describes the pleasure Brian DePalma took in encouraging Sean Penn to “rehearse” the slap in “Casualties of War” until JL’s cheek was swollen.

John Leguizamo reminiscences about experiences with the residents of the 110th Precinct in "Ghetto Klown."

“This is like therapy for me,” he says at the beginning of “Ghetto Klown.” “I should be paying you guys.”

JL enters dancing and spins records from each decade of his life, beginning with his impoverished childhood in Queens. Forty-six now, he started performing as a standup comic at age 20. In 1984, he landed a small role on the TV series, “Miami Vice,” and has since appeared in numerous films and on many a stage.

His angry and abusive father fuels much of the successful tragic comedy in JL’s writing. Never forgetting where he comes from, and quarrelling with almost everyone in his path, JL is honest about himself.

John Leguizamo does many impersonations in "Ghetto Klown."

He is not just a solipsistic chronicler. His irreverent impersonations people the stage; he mimics his mother, ex-girlfriends and his wife to great comic effect. He does impressions of some of his Hollywood cronies, including Baz Luhrmann, whose accent and affectations seem to bring out the funny in JL.

“Ghetto Klown” – full of laughs, tormented, cherishing absurdity and full of energy – is a great showcase for the extraordinary talents of its creator and star.

Visit http://ghettoklownonbroadway.com/ to learn more about “Ghetto Klown.”