Notes on Killing Seven Oversight, Management and Economic Stability Board Members (Play)

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    Asked to Adapt a Classic Play, This Writer Rethought Her Life

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    As she sought the truth for her characters on the page, Mara Vélez Meléndez’s real self began to emerge. Now she’s making her Off Broadway debut.In 2018, as part of a masters program in playwriting at Hunter College in Manhattan, Mara Vélez Meléndez was given a life-changing assignment: adapt a classic play. She chose “John Gabriel Borkman,” a rarely revived late Ibsen play about an ambitious banker, and in her reworking, the characters became members of the Financial Oversight and Management Board for Puerto Rico, created in 2016 by the U.S. federal government to resolve the island’s debt crisis.The resulting work, “Notes on Killing Seven Oversight, Management and Economic Stability Board Members,” recently opened at Soho Rep in Manhattan. But when Vélez Meléndez, now 29, embarked on the project, she knew little about the board, or “la junta” as it’s known colloquially in her native Puerto Rico, other than that a large percentage of the population was against its unelected power to oversee the island’s budget.Working against the clock — “I had one week until the deadline,” she recalled — the playwright hit a wall. No amount of research helped her understand who the board members were or why they were appointed by the Obama administration. The board’s mission — to put the island on a path to sustainable economic growth — has led to fiscal austerity and criticism that it has taken away the island’s sovereignty, effectively creating a modern colonialism.“Puerto Rico es la isla que se repite (is the repeating island),” Vélez Meléndez said, alluding to the Cuban writer Antonio Benítez-Rojo and his seminal reflection on the interminable colonial impositions laid upon Caribbean islands since Columbus’s arrival. “We’re always going back to the same thing,” she added.Christine Carmela, left, as Lolita and Samora la Perdida, who plays outlandish versions of the board members.Julieta CervantesIntrigued by the lack of information on the board members, Vélez Meléndez wrote a play that employs what she called a queer lens to investigate how “Puerto Rico was turned into a neoliberal playground.” (The play, a coproduction of Soho Rep and the Sol Project, is running through June 19.)Every trace of Ibsen disappeared in the process. It’s all Vélez Meléndez now. The play takes place in the office reception of “la junta,” a liminal space that conveys the timeless vacuousness of bureaucratic hellscapes. Lolita (Christine Carmela), a trans woman, arrives with one mission: “to decolonize the island of Puerto Rico.”On Being Transgender in AmericaPhalloplasty: The surgery, used to construct a penis, has grown more popular among transgender men. But with a steep rate of complications, it remains a controversial procedure.Elite Sports: The case of the transgender swimmer Lia Thomas has stirred a debate about the nature of athleticism in women’s sports.Transgender Youth: A photographer documented the lives of transgender youth. She shared some thoughts on what she saw.Corporate World: What is it like to transition while working for Wall Street? A Goldman Sachs’ employee shares her experience.Throughout the play, Lolita meets various characters, including a Nuyorican receptionist whose gender identity is unresolved and outlandish versions of board members (all played by Samora la Perdida). They not only fail to take Lolita seriously but try to convince her that they know more about her needs than she does.The playwright realized in trying to decolonize Puerto Rico, she was also learning how to decolonize gender identity, including her own. When she started writing the play, Vélez Meléndez had not yet begun to transition and identified as “cis, queer, question mark,” believing she didn’t have the right label to give herself.“I’m a political writer whose plays aren’t about politics,” Vélez Meléndez said.Josefina Santos for The New York TimesGrowing up in Puerto Rico, she had learned that being queer meant she had to like men, “but I never wanted to be around them,” she says laughing. She began writing for pleasure while pursuing a double major in journalism and theater at the University of Puerto Rico. “I wasn’t dating and really didn’t like sports,” she explained, so she found solace and unexpected joy in the works of Beckett and Ionesco.This in turn led to an interest in modern theater, including works like “An Octoroon” by her future Hunter professor Branden Jacobs-Jenkins. One of her mentors, the Puerto Rican playwright and performer Sylvia Bofill, suggested she should write her own plays.Upon moving to New York City for grad school in 2017, Vélez Meléndez found that gay and transgender people were everywhere. “There were trans girls on the subway, lesbian couples holding hands in the street, everything felt like a possibility,” she said. Soon, she added, she found a safe space among fellow theater-makers and new friends who allowed her to experiment with her gender expression in ways that would have seemed forbidden in Puerto Rico. Once she sat down to write, her sister had begun transitioning, and Vélez Meléndez wanted to include a trans character as a homage.Originally, it wasn’t Lolita who was trans but the receptionist character. Lolita is inspired by the real-life Puerto Rican nationalist Lolita Lebrón, who, in 1954, led an attack in the U.S. Capitol, which resulted in the wounding of several members of Congress. Writing scenes in which Lolita talks to the receptionist about decolonization made the playwright feel horrible.“It’s the TERF-iest I’ve ever been with myself,” she explained, using an acronym for “trans exclusionary radical feminists,” a term used to describe feminists who are transphobic. “Here I was telling this trans character they have to decolonize themselves when they had done it years ago.”Dissatisfied with the draft she presented at Hunter, Vélez Meléndez said she was shocked by the encouragement she received from her classmates and professor. Jacobs-Jenkins then introduced her to the director David Mendizábal, overseeing the Soho Rep production, who helped the play take a turn by asking, “what if it was Lolita who was trans instead?”Suddenly, as Vélez Meléndez was able to identify more with her lead character and her pleas, the play took on a life of its own. “It was a beautiful journey to witness,” Mendizábal said, “the truth of these two characters emerged on the page as she was emerging more and more in real life.” It was around this time that Soho Rep first showed interest in producing the play, but then the pandemic happened.This forced period of isolation allowed the young playwright to open up her spectrum of presentation. She started wearing more dresses and skirts, fully shaved her facial hair for the first time since high school, and when she tried on a crop top, she realized she looked like the kind of girls she crushed on. “Seeing myself in one of those women I was attracted to I knew that I could love myself,” she said.One day at the post office, when a clerk referred to her as “ma’am” everything clicked. “It kept clicking through the play,” she explained, recalling the effect this had on Lolita’s agency as well. Last July, she came out to her partner by saying, “I’m not trying to copy my sister, but I think this is happening.”“This was a case where the play was just writing itself. I was writing it, writing me, writing itself,” she added.With the newfound confidence she discovered during her transition, as well as the joy and elation of making her Off Broadway debut, Vélez Meléndez is looking forward to spending her summer working on a batch of new plays. “I’m going to write about my experience as a trans girl from the diaspora,” she explained. “I’m a political writer whose plays aren’t about politics.”Although she didn’t uncover much about how the oversight board works, writing “Notes on a Killing” allowed Vélez Meléndez to realize “there are many things we need to decolonize within ourselves before we actually get to start the country we dreamed of.” That in itself feels like the ultimate kind of political awakening, a revolution in the making. More

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      ‘Notes on Killing’ Review: For These Puerto Ricans, Promises Never Kept

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      Mara Vélez Meléndez’s “Notes on Killing Seven Oversight, Management and Economic Stability Board Members” ferociously explores the intersection of the personal and the political.“Notes on Killing Seven Oversight, Management and Economic Stability Board Members,” a hot and bothered new play by Mara Vélez Meléndez, is a psychodrama with an emphasis — and I mean psycho in the nicest possible way. A coproduction of Soho Rep and the Sol Project, the show imagines a young woman with a personal mission to assassinate the bureaucrats responsible for restructuring Puerto Rico’s debt and the queer receptionist who abets her. A political allegory, a savage drag show and a folie à deux with far too much gunplay for anyone who has lived through the past week’s news, “Notes” is a trigger warning writ large and in glitter, a fever dream with streamers.For those who don’t follow Puerto Rico’s political and economic fortunes, a brief history lesson will prove useful. By 2016, Puerto Rico’s credit crisis had worsened significantly, with the island owing more than $70 billion. In a move with celebrity backing — Lin-Manuel Miranda was at the time a supporter — Congress passed the Puerto Rican Oversight, Management and Economic Stability Act, known as Promesa, which gave an unelected board the power to restructure the island’s debt and impose fiscal austerity. Few of that board’s members lived in Puerto Rico, which added to criticism of the act as colonialist.These circumstances have brought Lolita (Christine Carmela), a trans Puerto Rican woman, to the New York City offices of the Promesa board, with a gun in her purse. Lolita is not her real name, but she has styled herself, she tells us, after Lolita Lebrón, a Puerto Rican nationalist who participated in an armed attack on the House of Representatives in 1954. That attack wounded five members of Congress; our Lolita aims for a greater body count. Yet before she can assassinate anyone, a receptionist (Samora la Perdida) intercepts her and takes her firearm away.The receptionist doesn’t have a name and their gender identity is unresolved.“I haven’t found, haven’t been satisfied? With any word that represents myself maybe,” they say.A drag performer, the receptionist suggests that Lolita should prepare for her task by pretending to shoot a drag version of each of the seven board members. Conveniently, they have a prop gun coated in gold glitter in a handy drawer, which she can use in their playlet. The receptionist then provides a fabulous interpretation of each member — dancing and lip syncing, makeup immaculate.Demented, exuberant and appropriately angry, Vélez Meléndez’s play borrows from European absurdist theater, like the plays of Jarry and Genet, as well as a tradition of Latin American surrealism. As directed by David Mendizábal, who also designed the irrepressible costumes, the show takes place less in an office than in a shimmering theater of the mind. Is any of this real? Does that matter? Shh! They’re playing “Spice Up Your Life.”“Notes” is queer in its aesthetics, if not exactly in its form. The drag personae emerge tidily, one after the other, and the scenes take on a kind of sameness. But the play challenges Carmela and la Perdida to negotiate realism, fantasy and everything in between, a challenge they giddily accept, occasionally finding genuine poignancy even in the midst of the irrational and bizarre. And there’s delight, of course, in seeing la Perdida emerge in each new get-up. (This is likely a show in which the backstage action — the frantic donning and doffing of wig and makeup and costume — is probably just as exciting as what’s onstage.)Ultimately, Vélez Meléndez cares less about political consequence than about individual identity. Will Lolita accomplish mass murder? Maybe! Will she push the receptionist toward self-determination? Now there’s a question.The moral of “Notes,” simply stated by Lolita, is both provocation and invitation: “The journey of decolonization starts with the self!” Few of us can meaningfully affect Puerto Rico’s fiscal crisis or its vexed journey toward either statehood or independence. But can we shake it, shake it, shake it, with authenticity? Can we self-govern in our private lives? “Notes” suggests that, with enough glitter, we can.Notes on Killing Seven Oversight, Management and Economic Stability Board MembersThrough June 19 at Soho Repertory Theater, Manhattan; sohorep.org. Running time: 1 hour 35 minutes. More