Citizen of the World

Antonio’s Song/I Was Dreaming of a Son

Antonio, a young Latino man, speaks to us and to himself as he relates an event that shamed and shocked him to his core. While attempting to take care of Mark, his active, five-year-old son, he found himself in a quandary. The problem was that Antonio was at work and in a time crunch. As a choreographer and theatre artist, he’d rented a studio for three hours to create a movement piece, but his little boy, his “baby,” didn’t understand his Daddy’s need to concentrate on his art. With time running out and Antonio’s patience strained to its limits, little Mark’s loud distractions finally provoke him to frustration and anger. He suddenly grabbed Mark, shook and slapped him and screamed profanities at the cowering little boy. When he raised his fist to strike the crying child, Antonio suddenly realized what he was doing and wondered how a loving, caring father could suddenly become this out-of-control tyrant?

That memory sparked so many others, each one tumbling over the next. Antonio Edwards Suarez sets off on an 80-minute journey of remembrances from his past as he tries to understand what drove him to that unforgivable moment. His own childhood, adolescent years and early adult life is visited vividly through the lyrical dialogue, co-created by Dael Orlandersmith and Suarez, and the expressive dance movements, developed together with talented choreographer, Alexandra Beller. The effect is exhilarating, mesmerizing and unforgettable. It’s sheer poetry in motion.

The performance is laced with slang, profanity and colorful Latin lingo. We learn a lot about Suarez as he seamlessly transforms into characters from his past. We meet his father, a soft-spoken man with a gentle side, who sold guns but had an artistic flair for carving figures from wood. We get to know his bitter mother, a once joyful woman, who wore a leg brace after having been inflicted with polio. A chain smoker and a sullen, abusive woman, Antonio’s mother mostly kept to herself within their Brooklyn brownstone. The home became a dark, depressing and stagnant cave. We also get a glimpse of Pinky, Antonio’s animated sister, his kindly Uncle who would drop by for warm, encouraging visits, and a thoughtful portrait of Curtis, Antonio’s best friend from the block.

One night, when young Antonio was left alone in the apartment, he flipped through the TV channels, and chanced upon a PBS performance by famed ballet dancer, Mikhail Baryshnikov. The youngster became completely entranced and inspired by what he saw and felt. He tried to duplicate Baryshnikov’s poses, steps and turns and discovered, to his astonishment, that there was a dancer buried deep inside of him. It was Curtis who inspired Antonio, telling him that it’s okay to stop trying to be macho, like his street gang buddies, and be himself. An aspiring actor, Curtis urged his friend to pursue his dreams of becoming a dancer. With additional encouragement from Antonio’s father and inspiration from his teachers, the youngster began to consider a life in the arts. Despite his mother’s verbal, emotional and physical abuse, Antonio left home, attended college and went on to study theatre and dance at Harvard. In doing so, Antonio now feels he transcended his oppressive childhood and became, as Curtis said, a Citizen of the World.

This is a stirring performance that will make the theatergoer feel, think and possibly, like me, recognize himself. Directed with so much sensitivity and emotional connection by Mark Clements, the production is a tour de force for Antonio Edwards Suarez. He is simply astounding. John Ambrosone’s exquisite lighting design, as well as the myriad of projections created by Jared Mezzocchi, almost become additional characters in the one-man production. This is a rich tale that goes far beyond gender roles, racial relations, a journey to manhood, being a good parent, coping with abuse or exploring one’s past. This is powerful storytelling at its absolute finest and a dynamic celebration of the importance of art in all our lives.

Highly Recommended

Reviewed by Colin Douglas

Presented April 28-May 28 at the Goodman’s Owen Theatre, 170 N. Dearborn, Chicago.

Tickets are available in person at the Goodman box office, by calling 312.443.3800, or by going to www.GoodmanTheatre.org.

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