Review: The other americans
Written by and starring John Leguizamo and directed by Ruben Santiago-Hudson, The Other Americans is a story about the quintessential American Dream. A powerful play, it fills an important gap in American theatre. In the same realm as family sagas such as Wilson's Fences and Miller's Death of a Salesman, The Other Americans shares a slice of life from the modern Latin American perspective.
The curtain opens and closes on Nelson Castro (Leguizamo), the patriarch who has moved his family to the promised land of Forest Hills, Queens. They own a house, an above-ground pool, and plenty of salsa CDs.
But Nelson has a drinking problem, a failing business, and a chip on his shoulder, laying blame wherever—or on whomever—else possible: his bank only helps white businesses; his sister won't give him a loan; his son used up all the family's money. The return of prodigal son Nick (played by Trey Santiago-Hudson) is the crucible around which the story revolves.
As a new work, Leguizamo has created an honest depiction of the struggles of the working middle-class experience. I appreciated that the dialogue reflects both the humor and toxicity of family dynamics.
The emphasis on community within Latin American culture, demonstrated through the food, music, friends, drama, and language, is the true mark of the text. We can all relate to the family's problems and desires for their next generation.
But the real strength of this piece is its ensemble cast, who anchor both the chaotic and emotional moments with appropriate weight. Luna Lauren Vélez, in particular, gave a grounded performance as Patti, the mother at the heart of the family, showing both great empathy and a backbone. And Rebecca Jimenez exhibited all the traits of elder-sibling syndrome, including the care as well as the conflict in her portrayal of Nick's stoic older sister.
Santiago-Hudson had a difficult task. While some of his choices came across as jarring, they felt truthful, drawing us into the world of a traumatized young man who believes he no longer fits into his own family.
The climax was a gut punch we could see coming; however, the ensemble delivered, very much led by Rosa Evangelina Arredondo and Sarah Nina Hayon's thoughtful and moving performances.
While on the money for much of the piece, I found Leguizamo missed the mark in the climactic scenes; his fellow cast members easily surpassed him in their emotional commitment. It was a disappointing end to his otherwise solid performance.
Overall, worth a watch, and quite a feat for a new work of American theatre.
The Other Americans opens at the Public Theatre September 25 and plays through October 26.
