By John Lyle Belden

In April of 2001, the DREAM Act was proposed to help undocumented immigrant children stay in the U.S., the only country they have ever known. After the events of Sept. 11, hardening attitudes towards non-citizens and the continually partisan politics of the years that followed made passage of this Federal law ever less likely – you hardly hear about it anymore.

For persons labelled “illegal” there have been a number of Americans who show compassion, and since the 1980s numerous jurisdictions have been declared “Sanctuaries” in which local officials won’t pursue or prosecute immigrants on their status alone. One of these is Newark, New Jersey, where, as we see in the local premiere of the drama “Sanctuary City” by Martyna Majok, life is not necessarily easier.

Despite the rumors of right-wing memes, being in a relative no-enforcement zone is no free ride. Government benefits are still denied, federal officials can pounce at any time, and any small breach of the law can lead to detention and likely deportation. This is the lived experience of a teen boy (Diego Sanchez-Galvan) trying to be just another high school kid with few worries beyond his next math test. However, his mother is considering returning to her homeland – a place he has no memory of – even if she must go alone.

In the first act of Majok’s play, presented by American Lives Theatre and directed by Drew Vidal, we get what is also a fascinating look at the relationship between two best friends, as a young Latina (Senaite Tekle) frequently visits the boy at his home, escaping her abusive stepfather. Scenes are chopped and minced in rapid-fire succession, reflecting the constant staccato stresses of their days – school; bad home lives; sorting their feelings for each other; and keeping out of sight of the government, even if it means letting others take advantage of them. The girl eventually gets a lucky break, and after the boy’s Senior Prom, they form a highly risky plan to give him a taste of freedom as well.

The second act encompasses one fateful evening more than three years later in which feelings and loyalties are questioned and tested with the intervention of young law student Henry (Carlos Medina Maldonado).

I’m leaving out quite a few details to avoid spoilers, but the main character names and the countries of their birth are never given, keeping our attention on the humanity of those caught in what shouldn’t be such a complex and sometimes no-win situation, especially for young souls who just want the same opportunities as everyone around them. This, and the contrasted pacing, make for an engaging experience, sharply pulled off by Vidal and the cast.

For one aspect of the plot to work, note that Act II takes place in 2006, bringing to memory another manner in which American law did not see people as equals.

Sanchez-Galvan gives us a sympathetic character, good humored despite a life that feels like a rodent trapped in a maze. Tekle gives us a great example of someone you easily feel for, yet only think you know. Maldonado’s voice of reason, which edges on cynicism, cuts to the heart of their situation in stinging fashion.

As is customary for ALT, founding artistic director Chris Saunders has arranged for talk-back discussions after each performance, which can include guests involved with the issue of undocumented immigrants.

A play that you will likely think and talk about long after the final bows, “Sanctuary City” is on the intimate Basile stage of the Phoenix Theatre Cultural Center, 705 N. Illinois St., Indianapolis, through Sept. 24. Get tickets at phoenixtheatre.org, information at americanlivestheatre.org.