Oddly, one of the best distractions from the tumultuous election before us comes in the form of a drama about a political contest taking place 25 years from now. In twenty50, playwright Tony Meneses sets his fresh and calculated thriller in an America in which the southern border is completely closed and Latinos — most of whom have fully assimilated — make up the majority of citizens. Against this backdrop, farm owner Andres Salazar (who goes by Andy) is running for congress somewhere in the middle of the country. With his campaign manager urging him to drop references to his background in order to appeal to a wider electorate, he finds himself torn between his traditional mother and his inquisitive daughter who doesn’t know a word of Spanish. Though the bilingual dialogue sometimes blunts the pacing, it’s essential to the unfolding of the story. Meneses is drawing on a deeply personal understanding of how much can change in a single generation. His family moved from Guadalajara, Mexico, and he was raised in Albuquerque and Dallas. The result of his honest excavation is a fair weighing of the many sides of culture, authenticity, and the desire to belong that are not exclusively LatinX.
In creative partnership with scenic designer Tanya Orellana, director Rebecca Rivas has reshaped T2’s intimate space to represent a house with a sloping roof that engulfs the audience placed on either side of a thrust stage. Lighting Designer Nita Mendoza adds emphasis to this metaphorical container. The clever use of “farmhands” as stagehands, helps convert the landscape for the final scene. Within the dwelling, the characters circle one another, trying to find their equilibrium. Orlando Arriaga makes Salazar both approachable and questioning. It is his genuine warmth that provides the production with a solid center. He is particularly strong in exchanges with Isabel Quintero as the mother whose memories of the recent past wash in waves over the present. Cary Hite as the farm’s manager presents an opportunity for another variation of Andy’s balancing act. Yet a third foil is Gabriella Perez’s policewoman Lydia, the most obviously futuristic character. As daughter Jenny, Alyssa Martinez is unnecessarily burdened with a childish wardrobe and mannerisms. She is best when she leans into the role’s purity instead of relying on these distracting crutches. Ricardo Pérez Dávila and Freddy Acevedo round out the cast.
In a brisk 90 minutes, twenty50 offers a buffet table ladened with food for thought. This is only the second time this play has been mounted and the rhetoric around immigrants has only grown louder and more destructive. It’s a coup for TheatreSquared and their loyal audience. As the Executive and Artist Directors say, this insightful work “serves as both mirror and beacon.” Note that the content is written for adults, though there is nothing overtly “mature” in the action.
The best way to see the performance is live for as little as $20, coming face to face with your fellow attendees at TheatreSquared’s Spring Theatre in Arkansas. But those of us who cannot easily get to downtown Fayetteville should take advantage of the digital tickets to get in on the experience any way they can. The camera switches house sides in an attempt to bring us fully into the thick of things. Individual streams are $25 and household streams are $35. Both types of links are good for 24 hours. Tickets for performances through November 3 are available by calling (479) 777-7477 or visiting theatre2.org/twenty50.
The Unforgettable Line 