**“Do You Know John?”**
“Yeah, LinkedIn. I know John Leguizamo.”
LinkedIn. There is no way John Leguizamo knows me, but following the professional networking platform’s suggestion, I went ahead and sent an invitation to the actor/producer to connect.
I grew up in Queens; my family has a butcher shop in Spanish Harlem. If you think Latinos are so united, see what happens when you call a Puerto Rican a Mexican.
I haven’t kept up with Leguizamo’s career. The only times I see him pop up now is when he’s complaining about the lack of Latino representation in show business. In fact, when it comes to complaining about representation, John Leguizamo is overrepresented.
**‘Liquor Store Gunman’**
I read in *Variety* that early on in his career, Leguizamo “felt humiliated” playing the role of “Liquor Store Gunman” in Mike Nichols’ *Regarding Henry*. I doubt a perfectly equitable distribution of roles in show business along ethnic lines will quiet Leguizamo though. Even a world where an Al Pacino can’t swoop in to capture the leading Cuban and Puerto Rican roles will shut Leguizamo up.
Notice Leguizamo isn’t making this appeal for equity when it comes to other industries. Can you picture John Leguizamo showing up at a farm or construction site, demanding fewer Latinos—legal or undocumented—because they’re overrepresented?
So in the year 2025, we’re about 20% of the population, but looking back at the *Regarding Henry* year of 1991—can you imagine if that were the movie that defined 1991? Latinos were only about 9% of the population.
In the year of Benny Blanco from the Bronx, 1993, it jumped to about 9.5%. The further you go back, the fewer Latinos there are in the United States. To expect to see yourself represented when there are so few of you out there is quite something. Narcissistic, you might call it.
Perfect for a talent like Leguizamo, who has made a lot of work for and about himself. Albeit a lot of good, original, entertaining, and funny work, I must say.
**Hate-Watch Interrupted**
Which brings me to his new play, *The Other Americans*, at the Public Theater, which I only heard about because of Leguizamo’s media appearances that come across like he’s on a grievance tour. So from a marketing standpoint, the Colombian American’s promotional shtick worked. I bought a ticket but to hate-watch his play.
I don’t like going into a show expecting it to suck, let alone wanting it to suck. I tried to shake those intentions as best as I could.
One thing I made sure not to do before the show was to read Leguizamo’s “note from the playwright” that’s printed in the playbill. I don’t know if it really made a difference, because once I stepped into the Anspacher Theater at the Public Theater, he’d won me over.
I had a seat center-stage in the second row. The set looked like an authentic house in Forest Hills, Queens, with a fenced-in backyard and even an above-ground pool that the neighbors could see from their second-story windows.
If *The Jeffersons* had been Latinos, this is what moving on up from Jackson Heights would look like. The change in neighborhoods is a punchline, as is the pool. One of the first arguments in the play is whether the above-ground pool is a “real pool” or not, because real pools are in-ground, you know. Yes, an above-ground is kind of trashy, but it still holds water.
**Crowd-Pleaser**
Leguizamo plays Nelson Castro, a Colombian American laundromat owner, and from his first entrance onto the stage, I’m all in—whether it’s watching him mix a drink or listening to him curse into his cell phone in English and Spanish.
When his wife, Patti (played by actress Luna Lauren Velez), arrives, they’re soon dancing, like a stereotypical Latin couple. The audience loves it. It feels like I’m on the set of a multi-cam sitcom. The live audience laughs, oohs, and aahs.
At one point in the play, an audience member caps one of Patti’s lines with what I think was a, “You go, girl!”
I remember Leguizamo saying he was out to create “a new type of American drama,” but what we’re presented with at first is something I could see running on network TV. They’d have to clean up the language and cut back on the Spanglish, but even the plot is perfect pilot material.
**Complicated Portrayal**
Nelson and Patti are preparing for their daughter Toni’s wedding as well as the return of their son, Nick, who’s been gone for some time. Mami’s so nervous she keeps burning the sofrito!
During one of their dance passes in the living room, I notice a run in Patti’s stocking. That image—whether the wardrobe department meant for it to be there or not—has stuck with me.
It turns out their son is coming home after being hospitalized for a nervous breakdown, which his therapist attributes to his family not addressing the trauma he experienced when he was brutally beaten by a group of white boys his last year of high school.
The attack happened at one of his family’s laundromats. The perpetrators even tried to stuff him into one of the washing machines “to wash the brown off of him.” (I guess the racist white boys succeeded? Because the actor who plays Nick, Trey Santiago-Hudson, is rather pale-skinned.)
Nick is in pain, and while Nelson wants a do-over with him, the Latin father is not equipped to deal with it. Imagine asking your son who was just released from a mental institution what he has to be anxious about?
It’s in these moments where Leguizamo really shines. He plays such a great dick! Although I don’t think “shines” is the right word for a performance that has so much darkness to it. Nelson is not just a flawed man in many respects—he’s a wicked man.
The plot to *The Other Americans* is so well-crafted that I don’t want to risk revealing too much, but in one exchange, a family member compares Nelson to Sisyphus of Greek mythology. It’s a setup to a perfect sitcom punch line, where Nelson assumes it must be a real Greek guy from Astoria.
But while Nelson shares some traits with Sisyphus, I think he’s even more like Tantalus.
**Who’s ‘We’?**
In his note from the playwright, John Leguizamo writes:
> I wanted to write a play about race, and I wanted it to be complicated. I didn’t want it to be a morality play, but rather I wanted to show life as *we* Latino people experience it. We don’t always see the microaggressions, or the systemic roadblocks in effect. Even though there’s a subtle tokenism at work around us, we often witness the macroaggressions: those obvious, in-your-face type moments. We Latinos experience racism through poverty, the schools in which we are allowed to enroll, and the geographical areas in which we are packed. In New York City, we are equal to the white population, yet you never see us on the cover of newspapers and magazines.
There’s more to his note, but I think this bit above is worth addressing.
Firstly, this “we” stuff has got to go. Latinos are not a monolith. I grew up in Queens; my family has a butcher shop in Spanish Harlem. If you think Latinos are so united, see what happens when you call a Puerto Rican a Mexican.
Secondly, in the play, Nelson is the one who blames “the system” (which is synonymous with racism) for his lot in life—for example, the failure of his laundromats. “The toxicity of the American dream” is another way I’ve seen it described. But as Nelson’s secrets are revealed, what becomes clear is that he, a tragic figure, is the one responsible for his and his family’s downfall.
The system, if there is one, has actually been very good to the Castros. Just like in real life, the system has been very good to Leguizamo.
With *The Other Americans*, Leguizamo fails to make his political statement but succeeds in making a powerful piece of art.
¡Bravo, hermano!
Please accept my invitation on LinkedIn.
https://www.conservativereview.com/john-leguizamo-s-the-other-americans-puts-art-before-activism-2674256278.html