Family history is integral to the formation of a person’s
identity, whether it’s embraced or not. Where a person’s roots are; where their
family originated; the kinds of foods they grew up eating, and the language
they grew up speaking — all of these factor into our earthly existence.
Catherine Trieschmann’s new play, “One House Over,”
which has its world premiere at Geva through April
29, explores themes of family, culture, and roots.
“One House Over” is a co-production with Milwaukee Repertory
Theater (it was performed there February 27 through March 25 and is directed by
MRT’s artistic director Mark Clements). While not a lot has been written about
the world premiere (yet), and it doesn’t have any Pulitzers or Drama Desk
Awards (yet), Trieschmann has said in interviews that
she based part of the script on her own experiences as both an immigrant
descendant and a live-in nanny.
The show is set circa the summer of 2010 in a middle class
Chicago suburb, and begins with 50-ish Joanne (Elaine Rivkin)
hiring 30-ish, undocumented Camila (Zoë
Sophia Garcia) to work as an in-home health aide to Joanne’s aging father Milos
(Mark Jacoby). Camila’s equally undocumented husband, Rafael (Justin Huen) also moves into the basement apartment, and the four
begin their shaky advent into cohabitation, all observed by the nosey next door
neighbor, Patty (Jeanne Paulsen). What follows is a sweet, hilarious story about
immigration (Milos came from Eastern Europe during World War II), love, and
trusting strangers.
It’s notable — and refreshing — that the entire cast as well
as Clements make their Geva Theatre debuts with “One
House Over.” While Geva returning favorites are
always nice to see on stage, there’s something to be said for a new director’s
or actor’s interpretation of the space, the roles, the script, and the design.
Adding to the story is a massive set (the side of a
Craftsman-style brick home) and a quaint backyard complete with a wooden fence,
a patch of grass, and a flower garden. The scenes largely take place in the
backyard, though scenic designer Kevin Depinet has
also (brilliantly) made a small part of the house’s interior functional.
The cast of five is impressively focused and strong
throughout the nearly two-and-a-half hour performance (including an
intermission). The script is filled with dialogue, and never once do they
falter or lose the energy between characters. There’s a lot of good chemistry
onstage, particularly between Huen and Rivkin, and Jacoby and Garcia. As the show progresses —
without providing spoilers — the need for chemistry becomes increasingly
important. These are complete, three-dimensional characters played out, though
they could have so easily been two-dimensional (Paulsen, who has the least
stage time, is incredibly nuanced and makes every second count in her character’s
journey).
At a time when the country is so divided over immigration,
especially, Geva’s newest production feels
particularly relevant, and not at all preachy. The heaviest themes are worked
out with humor and wit, causing the audience to pause, perhaps, in their
laughter to consider what’s happening — and hopefully keep the dialogue going
long after the show has ended.
This article appears in Apr 11-17, 2018.
