The show takes us through these realistic rooms as we hear stories of immigrant families living within Albany Park. aptpchicago TRPNYC | ✍️ kerryreid
began in 2018, “right in the middle of the Trump presidency,” Feiner notes. One of the apartments serves as the home for a Mexican family, where they receive a phone call letting them know that the father has been deported. “We were devising that and rehearsing it in the summer of 2019, when there were daily rumors moving around over social media that ICE agents were about to swarm Albany Park communities,” says Feiner.
Rodriguez notes that a big part of the planning for the show was making sure that audiences understand their role in the world of the play. “When you come in, you immediately realize you are supposed to be here. You are a guest who has been here before. You never have to guess who you are. The actors and the storytelling envelope you into the story right away.” So for example, in the home of the Mexican family, Rodriguez says, “You are immediately brought in and invited to sit down.
Later in the tour, Rodriguez shows me the fully functioning kitchen in an apartment for a Filipino family, where visitors are invited to help make turon, a traditional fried dessert. As in past APTP shows, including 2010’s, Rodriguez notes, “We really wanted to show how food is important to so many families and cultures.”requires a large technical team to create environments that are believable simulacra of real Chicago apartments and are up to code as public performance spaces.
Despite the bigger budget , one thing that hasn’t changed is the focus on the youth ensemble as the drivers of the stories, whether they play characters their age, adults, or younger children., which happened around nine years ago, “We had a lot of questions back then just of like, ‘Can a teenager hold status in an immersive scene playing an adult with an audience member who is an adult? How would that even work?’ And it actually worked really, really well.
Rodriguez also finds that it serves as an invitation to the immigrant community to explore the play. He notes that he was out front waiting for a delivery when a man walked by and began studying Alonzo’s installation. “All of a sudden, he said, ‘That’s my flag. That’s where I’m from,’” Rodriguez says. “Turns out he was from Ecuador. And then in Spanish he started to ask me, ‘What is this? And who are you?’ This is exactly why we’re here.
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