Awakening Ghosts From the Past

The Leopard Play, or Sad Songs for Lost Boys – Steep Theatre

A gay, young man is summoned home to El Paso for the memorial service his Dad is giving for his brother, the Son’s beloved Uncle Max. Once again finding himself captive in the stifling Texas border town where he grew up releases a floodgate of past memories. The death of the young man’s Uncle is shady and definitely mysterious. When Dad, his Older Brother and his Other Uncles are questioned by the Son, hoping to learn how his dear Uncle died, the men try to bury the truth, saying Uncle Max died of a heart attack. However, when the truth is finally unearthed, the devastating horror of the event leaves both the young man and the audience shocked to the core.

Award-winning Chicago-based playwright Isaac Gomez, originally from El Paso and Ciudad Juarez, Mexico, digs deep into his own past to write this drama. Gomez is the author of several powerful plays, including Steppenwolf Theatre’s recent, compelling murder mystery, “La Ruta.” This new one-act is as autobiographical as it is sad and relentless. Directed with passion and fire by Laura Alcala Baker, the playwright’s frequent collaborator has guided her cast with empathy and precision. She’s crafted a production that wrings every moment of truth and emotion from Mr. Gomez’s stirring story.

Much respect and deep admiration is heaped upon this entire cast. Mr. Gomez’s play isn’t an easy story to tell. The events don’t play out in chronological order and the characters lack actual Christian names. They’re simply given labels, like Dad and Boy. But the eight-member ensemble keeps all the details and episodes clear and precise. As Son, the leading character and the playwright’s surrogate, Steep ensemble member Brandon Rivera is terrific. Brimming with the necessary delicate grace and good humor, he powerfully drives this play. The vulnerability Mr Rivera allows to seep in this leading role is reminiscent of his past work in such plays as “Pomona,” “Zurich” and “Brilliant Adventures.” Brandon positively bares his soul in this performance while continually keeping the play on track.

He’s matched, scene-for-scene, by each one of his costars that comprise this all-male cast. Playing an eclectic collection of supporting characters, Alec Coles Perez is superb as Boy. Making his Chicago debut, Alec is an attractive actor capable of completely changing his character on a dime. At times an older lover, a scantily-dressed performer at a gay bar and a Mexican trick solicited from a gay social media site, Mr. Perez is commanding. As Dad, handsome Victor Marana steps into his first, auspicious Steep role. Judging from this topnotch performance as a man harboring some deep, dark secrets and feelings, this won’t be the last time audiences will see Mr. Marana. 

Arash Fakhrabadi plays Older Brother with intensity and muscle. This good-looking actor should become a regular on stages around Chicagoland, if his portrayal in this play is any indication. Juan Munoz is humorous and completely believable as Son’s Little Brother, a college kid who lacks any real, common sense or a need for responsibility. Eduardo Curley-Carrillo, Sebastian Arboleda and Dennis Garcia effectively play Dad’s brothers, Son’s uncles, with masculine authority. The testosterone flows in most of the scenes, but these supporting  actors also get to show off their bodies, along with their feminine side and their dance moves, playing go-go performers (bravo to Breon Arzell for his suggestive choreography) and sexual partners in several scenes. 

It should be noted that this is an adult production, in every sense of the word. It contains partial nudity, simulated sexual acts, graphic language, cigarette, drug and alcohol use and unflinching brutality. Kudos to Violence and Intimacy Director, Micah Figueroa, for some very realistic and erotic simulations.

Despite everything, this newly commissioned play by Isaac Gomez is, at its core, about love. Within this machismo-driven Texas landscape, there’s very little room for gender exploration and an expression of variant lifestyles. Son has learned this disappointing fact early in life, which is why he moved to New York City as soon as he could. Upon returning home to humor his family and honor the uncle who taught him to simply be himself, Son awakens several ghosts from the past and learns the shocking truth about his family and himself.

Highly Recommended

Reviewed by Colin Douglas  

Presented January 24-February 29 extended through March 14 by Steep Theatre, 1115 W. Berwyn Avenue, Chicago.

Tickets are available in person at the box office, by calling 773-649-3186 or by going to www.steeptheatre.com.

Additional information about this other area productions can be found by visiting www.theatreinchicago.com.