Review: DECEMBER: A LOVE YEARS IN THE MAKING at Alley Theatre

DECEMBER: A LOVE YEARS IN THE MAKING is an original work from Texas playwright Marisela Treviño Orta, and was originally a part of the Alley All New Festival in 2023. Orta has MFAs in both Playwriting and Poetry, and the intersection of the two truly shines in this heartfelt production.

After an end-of-semester party thrown by instructor Carolina, Benjamin, a now-former student, stays to help clean up. They pick up red Solo cups, eat bundt cake, drink Malbec and dance. The rest, as we will see, becomes history. Over the course of three scenes and 20 years, a deep connection forms and we watch as love unfolds.

What really stuck with me is that these two people only see each other three times, but the depth of their connection is indelibly pressed into them, and us as an audience. I have had connections like this, where it feels surreal that one night or afternoon can leave such an impression. Then years later to pick up as if no time has passed. I have also had encounters that, years later, I still think about, remembering conversations that changed me or my perspective from that moment on. That is the really special thing that happens in this play.

There are two characters in this play, and four actors: each character has a younger self and an older self. Orta does a beautiful job of overlapping them throughout the three scenes of the script. Like a daisy chain there is one actor overlapping through the production, so the audience gets to see how the story blossoms, both over time and through different eyes.

Patricia Duran as younger Caroline could not be more relatable. She is cool, grounded, and confident in her knowledge and talent. The audience understands her troubles and they relate, but they are also on her side. We want her and Ben to get together long before she realizes it herself. And younger Benjamin, played by Leandro Salazar, brings such an ease and comfortability to his role. We’re enamored and routing for him before he’s even sure that his feelings for Caroline are worth pursuing.

Luis Vega’s older Benjamin comes in strong, but we are already waiting to see what happens based on the chemistry of Act I’s first scene. Vega carries the rest of the show beautifully, aging between Act I and II both physically and emotionally.  Last but certainly not least is Maggie Bofill as the final iteration of Carolina. She executes the 20-year passing nimbly, with gravity and earnest honesty. Life (and love) are not smooth or easy, but she makes us feel so comfortable, because she is comfortable with herself.

Orta has mentioned that she isn’t known for “writing funny,” however there were quite a few laughs during the night. In my opinion it comes from good material that the actors can use for comedic delivery. These four actors all get laughs, and it is because they believe the genuine words that are in the script. Because they are authentic.

While Caroline and Benjamin do comprise the whole of the script, there is a third character in this piece. Music plays as much of a principal role as the physical characters. Joy Division, the soundtrack to Harold & Maude and Roberts Flack, to name some brilliantly bring out emotion that underlay the characters’ feelings and emotions. 

The set by Regina García was spectacular; when I walked into the Hubbard, I gasped. A fully formed home splays out across the theater. Exterior front stoop, a living room (with dining table and chairs), a fully functioning kitchen (at one point Caroline does dishes!), an office nook and stairs that go to the second story, this set provided the perfect homey environment for the actors to lounge, dance, pace and exude emotion. I would be remiss if it did not get its full due. It should also be noted how choreographed the set changes were. Time is passing, so Caroline’s house must also change. Seeing how the crew changed the space was not only captivating, it also kept you focused on the story. All of this sums up director Marcela Lorca’s deft skill, she is to be applauded.