As playwright Catherine Trieschmann points out in the world premiere of One House Over, immigrants come to America in all shapes, sizes and nationalities. They also use different methods for coming to the U.S. It’s clear that Trieschmann sides with undocumented Mexican immigrants who wish to become legal citizens after spending a lifetime within our borders, creating a play that is timely as well as thought-provoking. One House Over is being produced by Milwaukee Repertory Theater in conjunction with the Geva Theater in Rochester, NY. Trieschmann sets her compelling story in the backyard of a Chicago suburban home, shared by Joanne and Milos, her elderly father. The house (superbly rendered by set designer Kevin Depinet) is modest but comfortable. As the fifty-something Joanne (Elaine Rivkin) faces the conflicting demands of caring for her father and earn some income by teaching violin students, she hits on what seems to be a perfect solution. Joanne plans to hire a caretaker for her father and offer this person free rent in the home’s basement. Joanne’s conundrum is like what many middle-aged adults face today. It’s a challenge to care for aging parents while carrying on their own lives. Paired with another keenly relevant aspect – immigration – the play makes a strong statement on both accounts. As one would guess, what looked like an ideal arrangement at the beginning quickly becomes complicated. First, Camila (Zoe Sophia Garcia) moves into the basement with her husband, Rafael (Justin Huen). It soon becomes evident that they are undocumented aliens, and Joanne, a liberal, tries hard to look the other way. However, small conflicts abound. Rafael complains about the stuffiness of their basement, playing loud music with the windows open. Camilla quickly rushes over to shut the window before the music is heard by Joanne and Milos. Camilla, the play’s most sympathetic character, does all she can to placate Rafael while seeing to the near-incessant demands of Joanne’s father (an ingratiatingly though wily geezer, as played by Mark Jacoby).
The comedy starts even before Milos wakes up from a nap in the backyard lawn chaise. “What does he like to do?” asks Camilla, while inquiring about Milos’s interests. “Complain,” is Joanne’s deadpan response. This single word makes it clear that Joanne is near the end of the rope, grasping for solutions to make her life more manageable. Joanne has no nearby relatives to lean on in terms of Milos’s care. Her brother works for Coca-Cola in China. We learn that the (unseen) brother will pay Camilla’s wages. As expected of an aging man used to getting his own way, Milos is completely against Joanne’s new caretaking arrangement. Milos walks with a cane and is somewhat frail, although he seems mentally sound. At first, Milos does what he can to sabotage the trust between the two women. However, it doesn’t take long for Camilla to win him over. He grows to depend on her constant care and attention. Soon, the two of them are plotting small rebellions against Milo’s doctor’s orders. This can consist of Milos smoking a cigar or enjoying a glass of scotch. Once again, Camilla is caught in the middle: she doesn’t want to lie to Joanne about her father’s behavior, but she clearly sides with the old man who seeks simple pleasures in his waning years. Director Mark Clements draws sharply outlined and complex characters who interact almost seamlessly. The household’s only outsider is next-door-neighbor Patty (Jeanne Paulsen). She is about Joanne’s age. The two barely know each other, mostly due to Patty’s off-putting remarks. Secretly, Joanne envies Patty for having a husband who Joanne thinks will never stray from her. This is far different from Joanne’s marriage, which ended years ago in divorce. One of the play’s underlying themes is that all the characters (except for Camilla and Raphael) long for personal closeness. Joanne is looking for a mate who will care for her as she recovers from recent surgery. Milos is seeking someone who will respect him as well as care for his needs. The clueless Patty seeks friendship even as her comments drive it away. Even Camilla and Raphael are searching for something – but it’s not a personal connection. It’s a country they can call home. As Camilla tells her husband, “I want a life that no one can take away.” Rafael is not as worked up about the situation. He seems to take life as it comes. A naturally talented chef, he tells Camilla that he’s a Mexican “who works cooking Italian for a Russian restaurant owner who doesn’t know the difference (between good and bad Italian dishes).” If the play has any drawbacks, it does become preachy. In Act II, Milos and Camilla have a lengthy conversation in which they relate their stories of how they came to the U.S. The audience’s sympathies are nudged toward Camilla’s current plight. There are a lot of clever ideas and strong opinions within One House Over, and the playwright creates credible characters who give voice to them as they struggle to find their way. The play is funny, harsh, sometimes politically incorrect (racially insensitive comments by Milos), and intriguing. There’s still a bit of work to be done on the final scene, which wraps up a bit too neatly after the climax. However, that’s a minor disappointment in an otherwise engaging play.
