play, the daughter in a Cuban-American family is all set to marry into
a white Jewish American family in suburban Los Angeles – only her
little sister is pregnant, her brother is gay, her parents are divorced
and her father’s much younger second wife shows up uninvited. As if a
wedding isn’t chaotic enough, the extra conflict sets the stage for
another “Cuban revolution” within this dysfunctional family that
generates laughter as well as understanding for immigrant families who
try to build a new home in the United States.
Broken Eggs is the fourth of the “Floating
Island Plays” which chronicle a family’s experiences before, during,
and after the Cuban revolution, and deal with the impact of that
political situation on people’s lives. The only one of the four set in
the U.S., “Broken Eggs” deals with a
mother and ex-wife trying to hold her family together as pressures of
American society threaten to pull them in different directions. The title
refers to the proverb often attributed to Lenin: "You cannot make an
omelet without breaking a few eggs."
One interesting feature of this play is how the
issues raised in Broken Eggs are painfully serious, but the way the
play is put together in terms of plot and dialogue gives it the shape
of comedy – outrageous, scandalous comedy – that reinforces the
absurdity of their situation. The play has also been considered
controversial by the Cuban exile community, as it does not fit the
pattern of heaping all blame on Castro for the problems exiles face in
their diaspora. On the contrary, Machado is relentless in his quest to
air the dirty laundry of Cuba's deposed elite.
This play was chosen to suit students' senior
research; the cast included three students with a Latin background; the
student assistant director was from a Cuban exile family. I also wrote
and recorded music to accompany lyrics provided by the playwright.
Review from the