JOHN LEGUIZAMO’S THE OTHER AMERICANS IS
RIFE WITH POTENTIAL THAT’S NOT ALWAYS
REALIZED — MUCH LIKE THE AMERICAN DREAM ITSELF

There are many kinds of Americans. Some were born here. Some emigrated here. Some were forcibly brought here. But whatever the mode of initial arrival, in time, we all eventually become Americans — enamored of the American Dream of prosperity and happiness. In John Leguizamo’s ambitious, if not quite fully realized, new play The Other Americans, a Columbian/Puerto Rican family from Jackson Heights, NY takes centerstage. Their dream of upward mobility based on hard-work, determination and perhaps a bit of luck is achieved — but at what price?  This engaging co-production between Arena Stage and The Public Theater opened last night at The Public’s Ansbacher Theater. The staging boasts a talented cast guided by strong direction from Ruben Santiago Hudson. But with a plot that still seems to be finding its way and Leguizamo’s uneven performance as the family’s patriarch Nelson Castro, The Other Americans is rife with potential that’s not always realized. Much like the American Dream itself.

John Leguizamo

Luna Lauren Velez and Trey Santiago-Hudson

Set in 1998 in the Queens borough of New York City, the Castros could be any American, working class family. A caring Mom, an industrious Dad, a smart daughter and an athletic son. In fact, Dad’s enterprising and entrepreneurial spirit greatly expands the family laundromat business that he inherited from his Dad. This new success allows the family to move away from the familiar, warm, Latin enclave of Jackson Heights to the more affluent, mostly white, Forest Hills. Once in their new neighborhood, the family soon realizes that the cold stares, distant neighbors and  the word “Spic” burned into their lawn are all clear messages that they are not welcome. However, Dad’s determination for the family’s betterment is undeterred. Combined with Mom’s continued connection to the old neighborhood, the Castro family creates a bearable life in this difficult environment.

John Leguizamo and Luna Lauren Velez

That is until their once popular teenage son has trouble adjusting to his hostile surroundings, culminating in an incident that deeply traumatizes the young man. As the family tries to help their son heal, deeply buried secrets and resentments are revealed. Is this family really happy? Have they lost more than they’ve gained? And is Dad’s bullheadedness just a sometimes annoying personality trait? Or does it speak to a deeper inability to connect and consider other people, including his own family?

Rosa Evangelina Arredondo and John Leguizamo

Family is the operative word in the Latin-infused world that Leguizamo brings to life onstage. Peppered with Spanish language dialogue throughout, the play excels in authentically portraying a Puerto Rican American family. Particularly in scenes when relatives and friends come over for family gatherings, the vibe is fun and welcoming and feels just like, well, family. The playwright also presents interesting and distinct characters in that extended family circle, no surprise as Leguizamo’s previous plays display his superb talent for character creation.

John Leguizamo, Bradley James Tejeda, Sarah Nina Hayon, and Luna Lauren Velez

Much like the renowned playwright Lorraine Hansberry, whose work explored the American Family through the lens of racism towards African Americans, Leguizamo’s family drama is filtered through racism towards Latin Americans. And in his modern scenario, the author demonstrates that The Great American Family Drama can also hold space for a Hispanic family. Yet with so many of the details spot on, what the play is actually about seems murky. Is it a troubled son? A fundamentally flawed father? A too accommodating mother? While anyone viewing the play can surely find moments that resonate with their own family experience, the reason for us to spend time with this family, enjoyable as they are, seems not yet fully discovered.

Bradley James Tejeda and Rebecca Jimenez

However, Leguizamo’s writing is dense and multi-layered, and the polished cast enthusiastically embraces all the twists and turns the writer provides. As the loving mom Patti, Luna Laura Velez shines brightly. She’s proud of her family and has mostly found a way to navigate life with the man she loves, as pushy and impossible as he may sometimes be. Rosa Evangelina Arredondo as Nelson’s more successful sister Norma and Sarah Nina Hayon as Patti’s wise-cracking, best friend Veronica also impress. Trey Santiago Hudson struggles with the difficult role of troubled son Nick, mostly because the writing could be more specific about why what happened to him affects him so deeply.

Luna Lauren Velez and Sarah Nina Hayon

As Nelson, the overbearing but devoted family man, Leguizamo delivers the expected star power in the  gregarious, over the top, funny and charming aspects of this man. But it’s in Nelson’s quieter, softer, more revealing moments that the actor seemingly resorts to more surface level performance, not exposing what’s underneath the bluster. Arnulfo Maldonado presents another impressive scenic design with his transformative, upper-middle-class home that includes an above ground swimming pool in the backyard. Kara Harmon’s costumes effectively denote the period and Latin culture, from Nelson’s obvious tank top undershirts to Norma’s tailored, chic ensembles. Jen Schriever‘s lighting also scores with convincing practical illumination inside the house contrasted with the shifting natural light outside.

Trey Santiago-Hudson

American culture likes to promote that the American Dream is attainable by anyone. While that may be true for some, John Leguizamo’s The Other Americans makes the point that the obstacles to that dream can vary greatly, depending on one’s racial background. Add in an inability for honest self-reflection and even life at the top can send one crashing back to the bottom.

Rosa Evangelina Arredondo and Rebecca Jimenez

Luna Lauren Velez

photos by Joan Marcus

The Other Americans
The Public Theater, Newman Theater, 425 Lafayette Street
2 hours and 15 minutes, including one intermission
Tues-Sun at 7:00; Sat & Sun at 1 (check for variances)
ends on October 12, 2025
for tickets, call 212.967.7555 or visit The Public