Diego Sanchez-Galvan

‘Extreme’ measures test family in need

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By John Lyle Belden

In the wake of tragedy, we often have the wish that we could start over, have a new life, even a new house. For a select few, at least the latter happened, aired on national television. A desperate Texas family seeks to join that number in the drama, “Extreme Home Makeover,” by Makasha Copeland, presented by American Lives Theatre at the Phoenix Theatre Cultural Centre.

The title references the ABC television show, “Extreme Makeover: Home Edition” (using its common nickname to avoid trademark issues). The process of being chosen, among hundreds of applicants, involved making a video recording to audition by showing both the necessary home renovations and the worthiness of the homeowning family. Scenes here are frequently played to an unseen camera, putting the audience in the position of the mysterious producers who could decide the family’s fate.

Three generations are crowded into this Kingsville, Texas, home: Valentina (Sofia Salgada), her mother Guadalupe (Caroline Lee Sanchez), teen son Marco (Diego Sanchez-Galvan), and 10-year-old daughter Lupe (Laila Matuk). Valentina’s husband, David, recently died, leaving her struggling to keep the house and unable to afford its upkeep, including a broken toilet.

Guadalupe is not thrilled at all about this bid for televised fame. She sees it as yet another insult to the honor of a family who lived on the land since it was part of Mexico two centuries ago, since then being made to work it for the benefit of non-Latino owners. Valentina, however, is practically blinded by hope, insisting on getting the audition just right so that a new home can help rectify their tenuous situation. The children, eager to please both Mom and Abuela, try hard to do their part in the scheme. Marco applies for his first job, while Lupe – who talks to “Aybeecee” like a friend she’s trying to impress – seeks to prove she’s not as useless as she feels.

Local actor Carlos Medina Maldonado directs. He saw the play in development while a student at Texas Tech, noting it reminded him of his own family, with aspects we can all relate to. Intertwined with the themes of hard times and holding on to one’s culture is the universal experience of grief, made more intense when it is the family patriarch who is suddenly gone. Aside from some clothes and possessions, their principal reminder of David is a video of him at Lupe’s last birthday – his singing to her embarrassing then, but treasured now.

The cast’s familial chemistry, combining personalities that are distinct and natural, draw us into their world, feeling both their loving bonds and growing need. Even when they clash, each acts from their perspective of love. Salgada’s Valentina is driven, barely hiding her growing desperation while feeling it is up to her to make everything right. Sanchez’s Guadelupe is a bit of a curmudgeon but adopts a softer touch to help mend their growing crisis, coming through as only a loving grandma can. Sanchez-Galvan’s Marco feels the weight of man-of-the-house expectations, though he’s not feeling quite ready to grow up yet. Matuk, who is over twice the age of the girl she plays, maintains Lupe’s sweetness and innocence, along with a naïve grit of one who doesn’t know what she allegedly can’t do – showing that where there’s a will, there’s Google.

The stage, brilliantly designed and built by Carlos Teeters, has no visible walls and audience seating on two sides, showing the fishbowl environment brought about by private spaces being exposed to judging strangers. We see the floor plan, while the people upon it show what makes a house a home.

Note the dialogue is a Spanglish mixture that would be genuinely heard in a home like this, yet not too hard to follow for non-Spanish speakers.

An emotionally engaging and inspiring story of a family needing to make some changes, “Extreme Home Makeover” runs through Aug. 2 in the Basile black-box stage at 705 N. Illinois St., downtown Indianapolis. Get tickets at phoenixtheatre.org, and information at americanlivestheatre.org.

ALT: Characters seek ‘Sanctuary’ in each other

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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.