Paloma Nozicka is fast becoming one of my favorite Chicago playwrights — an assertion I’m confident in making on the basis of her two full-length works to be produced thus far. With “Enough to Let the Light In,” which debuted at Teatro Vista Productions in 2022, and her latest world premiere, “BOTH,” Nozicka demonstrates complete mastery of the best type of stage thriller: those that combine gripping suspense with richly crafted characters, complex family dynamics and sensitive explorations of trauma.
What’s more, Nozicka also stars as Xochi, the protagonist of “BOTH,” which is co-presented by Teatro Vista and Steppenwolf Theatre as the first production of a multi-year partnership between the two companies. Surrounded by a strong ensemble under the direction of Georgette Verdin, Nozicka frankly knocks this thorny role out of the park.
In a nightmarish opening sequence, we glimpse Xochi on the worst day of her life: her 35th birthday, when her twin brother, Sebastian (Yona Moises Olivares), disappears while swimming near the lake house that Xochi had recently purchased with the proceeds from her debut novel’s lucrative TV deal. As Xochi frantically replays old voicemails from Sebastian — perhaps seeking a clue as to his state of mind — her boyfriend, Sam (Brian King), pounds on her locked front door, trying to help. Sam’s silhouette is backlit by alternating reds and blues that evoke police lights (designed by Maximo Grano De Oro) while sound designer Satya Chávez contributes an eerie soundscape.
A year-plus later, the lake house appears much calmer. A simple black dress cradles Xochi’s growing abdomen as she and Sam prepare the modern, beige-toned space for a baby shower (scenic design by Sotirios Livaditis and properties design by Shokie Tseumah). Sam comes across as a golden retriever-type partner and eager parent-to-be, proudly donning a T-shirt that reads “Dad Bod” (costume design by Johan H. Gallardo). Meanwhile, Xochi nervously anticipates a reunion with two estranged family members: her mother, Angela (Charín Álvarez), and older brother, Juan (Eddie Martinez).
When the guests arrive, Angela unexpectedly brings along another woman, Cynthia (Ayssette Muñoz), whom she introduces as her psychic. Apparently, Xochi is the only family member who’s convinced that Sebastian is actually dead — she even held a funeral for him — while Angela has been trying to contact him with Cynthia’s help. Shockingly, Sebastian himself soon arrives at the baby shower as if supernaturally summoned, and once again, Xochi is the odd one out; she doesn’t believe that this strange man resembling her brother is the twin with whom she once felt a spiritual bond.
Nozicka’s script and her performance tread a delicate psychological line that leaves the play open to interpretation: Is Xochi hallucinating, or is she the only one who sees the truth? Olivares also shows impressive range as Sebastian. In several flashback scenes, the twins share endearing sibling chemistry, but the present-day Sebastian gives off a disturbing, uncanny vibe. This is the kind of play where it’s hard to know where to look because you don’t want to miss any facial expressions, like the creepy smile that Sebastian flashes at Xochi behind their mother’s back.
While this production excels as a thriller, “BOTH” equally succeeds as a family drama that addresses heavy themes such as emotional abuse, suicidal ideation and survivor’s guilt. Nozicka also examines the implications of channeling personal trauma into art; even before Sebastian’s death, the mother-daughter rift was already in progress after Xochi based her novel on their family’s painful past.
The relationship between Xochi and Sam hearkens back to themes from Nozicka’s earlier play, which is about a lesbian couple facing the tension between one partner’s belief in the paranormal and the other’s skepticism. Sam plays more of a secondary role than those dual protagonists, but his character arc is still compelling. From his perspective, the dilemma is agonizing: how do you support your partner when she asks you to believe something that seems impossible?
The triumphant world premiere of “BOTH” is a testament to the magic that can happen when Chicago’s theater industry shepherds new work by local artists through the entire development process. In their introductory remarks on opening night, Teatro Vista executive artistic director Lorena Diaz and producing artistic director Wendy Mateo recalled the enthusiastic audience response to an early public reading of “BOTH,” presented by The Understudy Coffee and Books, and reaffirmed Teatro Vista’s commitment to providing resources for Latine artists. If the company’s new partnership with Steppenwolf can advance this mission even further, then the years ahead are looking bright.
Emily McClanathan is a freelance critic.
Review: “BOTH” (4 stars)
When: Through May 10
Where: Teatro Vista Productions at Steppenwolf 1700 Theater, 1700 N. Halsted St.
Running time: 1 hour, 45 minutes
Tickets: $47 (Wednesday performances: pay what you will) at 312-335-1650 and steppenwolf.org
