The Other Americans, Fichandler Theatre, Arena Stage, Washington, DC
John Leguizamo is a multimedia multi-hyphenate: a stand-up comedian, actor, monologist, social activist, voiceover artist, host, and playwright whose work has been seen on the stage as well as in film and television. He wrote and is currently appearing in the current offering at Arena Stage, The Other Americans, in its world premiere run (continuing through November 24).
It is 1998. The Other Americans focuses on an upwardly mobile Colombian/Puerto Rican family who have moved from Jackson Heights, Queens, to Forest Hills, Queens. Leguizamo stars as Nelson Castro, the family patriarch, who owns and operates a number of laundromats in New York City. Nelson instigated the move from the cramped apartment in Jackson Heights to the house in a tonier neighborhood over the objections of wife Patti and his children, who were more comfortable living near other members of the Latin community. One of Nelson’s most recent additions to the new property has been the installation of a pool, which he expects will be welcomed by Nicky, who was a champion swimmer.
John Leguizamo as Nelson and Luna Lauren Velez as Patti in The Other Americans. Photo by T. Charles Erickson Photography.
When we first meet the Castros, they are anxiously awaiting the return of Nicky, whom we learn has been in a residential treatment center for mental health patients. Patti has planned and is preparing a festive dinner, complete with some of Nicky’s favorites, though the pressure of his return and her nervousness causes her to burn some of what she is preparing. In addition to his parents, Nicky’s sister Toni and her fiancé Eddie, his father’s sister Norma, and family friend Veronica are also in attendance.
It quickly becomes apparent that Nicky’s return is a
set-back to his still-tenuous recovery. During his absence, he has changed: his
mother is aghast that he has become a vegetarian (thus ruining her plans for
the dinner) and his father that, instead of taking over his father’s laundromat
business, he wants to be a choreographer.
Family dynamics are front-and-center, including
husband/wife, parent/child, and brother/sister. Nelson and Patti appear to have
a loving compatibility, showing off their dance moves in fun reenactments of
their successes on the dance floor. They mean well, but they are not successful
in being supportive of Nicky: their vision of his future and his vision hardly
intersect. Sister Toni is alternately empathetic with and conflicted with
Nicky, demonstrating both sibling affection and sibling rivalry. Like Nicky,
she is seeking escape from their overbearing parents by marrying Eddie and
moving to the west coast. Similarly, there is a brother/sister dynamic between
Nelson and his sister Norma: he is a schemer trying to persuade her to give him
(another) loan. He is jealous that Norma’s inheritance from their father
consisted of “better” laundromats than the ones he received, more profitable,
in more affluent neighborhoods, etc.
Much of Leguizamo’s early career was made on his writing and
performing autobiographical one-person plays including the Tony-nominated Freak,
Sexaholix, and Latin History for Morons (he won an Emmy for
Outstanding Performance in a Variety Special for the television production of Freak).
The Other Americans provides him with an opportunity to create for
himself a role that includes aspects of his own history and personality, giving
him a chance to earn plenty of laughs early in the evening, but also to show off
his dramatic chops later in the play when the comedic façade is replaced as
some of the character’s more nefarious actions are exposed. As one might
expect, Leguizamo commands the stage whenever he is on it, but he works well as
a member of the ensemble. His is a sincere, disciplined performance.
Luna Lauren Velez as Patti and Leguizamo as Nelson in The Other Americans. Photo by T. Charles Erickson Photography.
Luna Lauren Velez as Patti is a worthy partner to
Leguizamo’s Nelson. Velez expertly portrays Patti’s stress in preparing for
Nelson’s return. Despite their estrangement, Velez makes it apparent that Patti
loves her son and has a deep relationship with him, even though her tendency is
to smother him. Velez as Patti is alternatively flirty, overprotective, and
trusting, before, finally, demonstrating her own power and asserting her
independence.
Rebecca Jimenez as Toni and Trey Santiago-Hudson as Nicky in The Other Americans. Photo by T. Charles Erickson Photography.
Trey Santiago-Hudson as the troubled, recovering Nicky earns
sympathy as a character before he even appears. Although there are flashes of
humor, his road to recovery is tenuous at best. Santiago-Hudson’s performance
is earnest and emotional, if perhaps a bit overwrought. Rebecca Jimenez’s Toni
is relatable as the sister split between her parents and her fiancé, as well as
her parents and her brother. The sibling relationship between the characters is
completely believable, especially as they play backgammon in an attempt to
return to some sense of normalcy in their conflicted environment.
Rosa Arredondo makes a strong impression as Nelson’s sister
Norma, who contrasts with Leguizamo’s Nelson. Arredondo’s Norma is financially successful
and without remorse as she denies her brother’s loan request. Arredondo conveys
a great deal of attitude through a look, assisted by stylish and striking
costumes (designed by Kara Harmon). Sarah Nina Hayon as former neighbor
Veronica has a less-defined but sympathetic role. Hayon makes the most of her
limited stage time.
Trey Santiago-Hudson as Nicky and John Leguizamo as Nelson in The Other Americans. Photo by T. Charles Erickson Photography.
Ruben Santiago-Hudson directs the play, eliciting outstanding,
committed performances from each member of the cast and skillfully coordinating
the work of the outstanding design team. I was especially impressed with the
thoughtful, thoroughly detailed set design by Arnulfo Maldonado, based on the
opening set alone. The living room, dining room, and kitchen of the Nelson’s
home look and feel “lived in.” Subsequent reveals of other settings (which I
will not identify because of the impact the reveal provides) emphasize the
ingenuity of the designer and the skills of Arena’s technical theatre staff.
Kara Harmon’s costumes suit the characters and the period: I
was particularly taken with the costumes for Rosa Arredondo as Norma, which
establish essential differences between Norma and brother Nelson. Jen
Schriever’s lighting design effectively directs our attention to different
areas of the stage.
The play’s program includes photos of a number of Arena’s
past productions dealing with American families including A Delicate Balance,
A Raisin in the Sun, Death of a Salesman, and Fences. Most of the plays include a flawed patriarch
who may or may not learn from his experiences and subsequently make changes. The
Other Americans fits firmly into this group.
So why is this The Other Americans?
Specifically, what is “other” here and why does it matter? The “other”-ness shares
more with the Lorraine Hansberry and August Wilson works than with the works by
Edward Albee and Arthur Miller: as members of a racial/ethnic minority, the
characters experience and face their pasts in light of assaults (in this case,
literal and figurative) and discrimination. Nelson’s lack of “redemption” may
be disappointing, but it is probably more realistic than achieving a 180-degree
change: he is who he is, flaws included, and despite tragic events, he always
will be.
Whether The Other Americans will take its place in the American family pantheon is yet to be determined. It is a thoughtful glimpse into the lives of one specific family we rarely see onstage.
Rebecca Jimenez (Toni), Rosa Arredondo (Norma), and Sarah Nina Hayon (Veronica) in The Other Americans. Photo by T. Charles Erickson Photography.
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