THE WIZARDS explores the convoluted synergy of racism and urban gentrification. From the Oregon Black Laws and the more widely prevalent Sundown Laws, America has used statutory exclusion to uphold and reinforce segregation. Chicago remains the most segregated city in America; even the heinous redlining that propelled development of the Ida B Wells [sic!] Housing Project was not enough for some:
. . . it should have been located north of Oakwood and west of Indiana to keep the colored influence as far as possible from further encroaching on park and lake water frontage.
In the 1950’s, people living in the areas gobbled up by expansion of the University of Illinois Circle campus – largely Mexican immigrants – were bulldozed into the Pilsen neighborhood established in the 1840’s by Eastern European immigrants. Unlike many neighborhoods, Pilsen welcomed its new neighbors, and Latinos gradually became the area’s primary ethnicity. This legacy of solidarity continues today with the APO Cultural Center hosting Ricardo Gamboa’s THE WIZARDS.
The story shows Amado (Ricardo Gamboa) and Sam (Sean JW Paris), a Brown/Black genderqueer couple, moving into Pilsen after surviving a Trump-election-spurred hatecrime in Manhattan. In their new home they find an Ouija board, which Amado (a self-professed witch) insists on using. The board conjures the spirits of The Wizards, a 70’s Motown cover band: Nato (Luis A Mora), Serafin (Eliseo Real), Lalo (Elijah Ruiz), and Javi (Alvaro Noel Padilla Jr.). Freddy Mauricio steps in as Donato, Wakanda, and Sonny, and Daniela Martinez plays the dual roles of Lorena and Nurse Rosie.
As Amado and Sam receive frequent (and increasingly uninvited!) visits from The Wizards, they learn much about the band’s lives, loves, and … but no, no spoilers. Suffice it to say there’s lots more to the story, including a second hate crime perpetrated by Dan (Sam Sage), Steve (Joe Bushell) and Mike (Felipe Carrasco). The quality of the acting is terrific throughout. I was drawn particularly to Sean JW Paris (Sam) and Alvaro Noel Padilla Jr (Javi), but that’s just me. All the actors are truly talented, particularly Ricardo Gamboa, who wrote, produced, and stars in THE WIZARDS
Audience seating is made cozy by scattering cocktail tables among the chairs. The ‘stage’, showing Sam & Amado’s apartment, is at the center, and the action occurs everywhere: in the center, up and down the aisles, on a gallery above us, and in various nooks and crannies of the room. Incredibly, this chaotic arrangement works, thanks to Director Katrina Dion, Stage Manager Anastar Alvarez (with their Assistants Sebastian Olayo and Gina Montalvo, respectively), Muralist Eduardo Lopez, and Scenic Designer Eleanor Kahn. Lighting is always a challenge in such locales but was well managed by Lighting Designer Conchita Avitia, Assistant Josiah Croegaert, and Master Electrician Quinn Chisenhall. Kyle McDermott (Technical Director) and Ellie Terrell (Props Designer) meet the challenge of action occurring simultaneously in 2017 and the 1970’s; Dramaturg Yasmin Zacaria Mikhaiel and Sound Designer Bran Moorhead keep the slang and the swing in their proper place/times, and Fight/Intimacy Choreographers Greg Geffrard and Sheryl Williams guide the smashing and the smooching.
I have a couple of critiques. First and foremost, THE WIZARDS would benefit greatly from some loving abbreviation. The play ran for fully 3 hours – with an intermission, yes, but that’s longer than The Return of the King, which even I, a fervent Tolkein-ite, found a mite lengthy. Some storylines and characters are left dangling: Nurse Rosie in Act 2 adds depth, but Lorena is superfluous – I didn’t learn (and don’t particularly care) what became of her. And wuzzup with Sam’s mom? The one mention of her is dramatic, then we hear no more from or about her. Contrariwise, some aspects could, I think, be more fully examined. Sam is African American – but why? I would have liked to see more exploration into the unique elements of Black/Brown relationships. Also, I think more could be made of how Amado’s PTSD from the hate crime informs later developments and decisions (can’t help it — I’m a shrink!).
In conclusion, THE WIZARDS is a timely and essential look at the real-life obstacles faced by all marginalized people, be they black, brown, LGBTQ+, or anyone else the White Supremacist system has chosen to ‘other’. THE WIZARDS also scores a stark line across the decades, reminding us that far, far too little has really, truly changed.
Presented by CLATA (The Chicago Latino Theater Alliance), THE WIZARDS is being performed at APO Cultural Center through November 19th.
