Review: THE HISPANIC/LATINO/LATINA/LATINX/LATINE VOTE at STAGES

Stages comes out swinging this fall season with a fantastic production of the world premiere of Bernardo Cubria's The Hispanic/Latino/Latina/Latinx/Latine Vote. This play is the surprise of this fall performing arts season and quickly becomes one of the best Stages has done recently. 

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Set in the here and now, audiences meet and interact with Paola Aguilar (played by the incredible Jaime Rezanour) as they navigate being a Doctorate of Latinx studies in a politically volatile and cultural war of a modern American election year. Aguilar also navigates an IVF journey on her own and receives a generous job offer from a political party. Here, audiences encounter with Aguilar a bevy of characters such as the problematic white male, Kaj Lutken (played expertly by Philip Hays), the sympathetic "token" black male, Bernard (played by the charismatic Kory Laquess Pullum), the half-Cuban Nicola Ramirez (played by the enigmatic Victoria Villarreal), and the Gen-Z coded Rebecca Feldman (played by the expressive Jordan Umphries). Subsequently, the specter of a Hispanic/Latino/Latina/Latinx/Latine individual (played by chameleon and phenomenal performer Jose Eduardo Moreno) mostly subverts Aguilar's expectations of her ideals and causes a change in her thinking. Without revealing any spoilers, Aguilars's journey can be described as an odyssey of self-discovery, cultural acceptance, and, ultimately, some culture-defining realizations.

I will admit I wasn't excited about this play upon its announcement. Many playwrights and artists have tried to tackle the problems of politics and Latinidad over the years. While most are well done, they are often less thought-provoking and more self-serving and, in some cases, do a tremendous disservice to the topics they discuss. Cubria's play subverts those expectations and, instead of avoiding the problematic issues of politics, leans into it and does so quite humorously. Interactions between Aguilar and the audience allow the play to find its humor and allow the folks watching the scenes unfold to find themselves in her journey and laugh at the preposterousness of the current political climate. Producers of LatinX work, this is a production made for our time, and Cubria has climbed Mount Everest and succeeded in creating a play that will speak to audiences across generations. 

The performances in this production are exceptional and well beyond worth the price of a ticket. Rarely does an ensemble piece such as The Vote feel remarkable, but Stages has done an impressive job casting this fantastic troupe of actors. While all deserve their own shout-outs and applause, there are standouts among the group. First, Jose Eduardo Moreno can easily be recognized as one of the most exceptional young performers in the Houston area. Last seen at Stages in a reading of their Sin Muros festival, Moreno is a chameleon, efficiently transporting himself from character to character. Kory Laquess Pullam is one of Houston's most charismatic actors. Pullam is in a league of his own, especially during a pivotal moment after the play's apex. Finally, our protagonist, our main character in Paola Aguilar, is Jamie Rezanour. Rezanour has several credits to her name, and it is evident that she is a master of her craft. She has been honing her skills to fulfill the challenging role of Aguilar and does so with the utmost gravitas. I hope to see this ensemble of performers in future productions around Houston, for they represent some of the best our fair city offers. 

Tremendous kudos also need to go to debut director Cesar Jaquez. A stalwart member of the institution that is Stages, it is apparent to see the hard work that Jaquez has poured into this production. I hope to see Jaquez direct future works, whether at the incredible place that is Stages or other theaters. Furthermore, the direction of intimacy by Ash Love also deserves special mention. While there is nothing extremely intimate, Love has to navigate some hefty situations and does what looks flawlessly (For those wondering, the IVF journey is difficult). Finally, a special mention goes to the stage manager, Jess Casanova. While behind the scenes, Casanova's role in this production indeed looked complicated, but at the end of the day, you can feel the love emanating from the stage manager's booth as the production seems to have run exquisitely. Casanova, especially with this production, cements herself as one of Houston's powerhouse stage managers and deserves all the flowers one can give her.

Design elements of this production only add and elevate this production to greater heights. Video design by Tim Thomson often acts like its own character, allowing audiences and performers alike to feel the play's hilarious and tumultuous nature. Lighting design only contributes to this video design, particularly at the play's apex when chaos ensues and is done by Ash Parra. Much like the performers, director, and other members of this production, one could tell that Parra had a love for this show that is not often seen in designers. 

Ultimately, the Hispanic/Latino/Latina/Latinx/Latine Vote not only deserves to be seen but MUST BE. It is imperative that if you enjoy Houston theater at all, you make your way to Stages' immaculate building and experience this production for yourself. I promise you will not leave disappointed but instead with an experience that will leave you discussing it for ages. I know I will. 

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