Rodrigo García Olza : The Opening

Rodrigo, Triston, Livingston, Clarisse, and Micah view theater and art as religion. The Play's spiritual theater presentation (or service) and religion thrive on ambiguity during ceremony and ritual. Amidst unexplained supernatural events, demons, and regular vampire attacks, poolside planning and party chatter escalate as the opening of The Play approaches. Keeneland Race Course remains a rich backdrop that keeps the characters engaged with the thoroughbred racing world, while Rodrigo repeatedly fine-tunes his equine training skills. Close friends and family members realize that some truths can only be witnessed in the dark, and embracing the darkness is sometimes required to terminate something. Livingston’s rigorous religious upbringing helps them decipher odd happenings related to fallen angels and Apocalypse prophecy. Enrique du Pont, as mysterious and eccentric as the muster of peacocks invading the horse farm, is a wealthy New York theater director. He remains mesmerized by Micah’s uncanny resemblance to Spanish poet and playwright Federica García Lorca. Micah reveals the discovery of a lost Lorca play acquired in Spain. The charming director builds a spectacular theater in Lexington. Surprisingly, cunning Enrique insists that Livingston, Rodrigo, Triston, Clarisse, and Micah control the play’s production completely. But the puzzling and enigmatic thespian has a secret agenda to take control of Rodrigo and his brother’s two mystical cameos.