Review: THAT DRIVE THRU MONTEREY at Stages Houston
Young Love, Love Lost and Genuine Storytelling in Stages’ Sin Muros Festival’s first fully developed production.
THAT DRIVE THRU MONTEREY was written by Matthew Paul Olmos as part of the 2024 Sin Muros Latinx Theatre Festival, Stages Houston’s annual celebration of new Latinx voices and stories (about to celebrate its 9th year). Inspired by the life of Olmos’ mother, the play tells a deeply personal story of first love, first loss, and the ripple effects of memory and machismo across generations. The production is directed by Brenda Palestina, who also directed the show’s festival reading.
It is impressive and, one imagines, deeply humbling to see a story so personal given theatrical life. In his opening night remarks, Olmos spoke about the closeness of this material to his own heart. The play centers on his mother and her first love, who, as we discover, is not Olmos’ father. What unfolds is a glimpse into a world that existed before the playwright’s own, intimate in origin but recognizable in its emotional terrain.
Monterey is played by Sophia Marcelle, who delivers an earnest, grounded performance. Monterey is unassuming, intelligent, and a little shy; a young woman who finds comfort in books, libraries, and quiet curiosity. Marcelle gives the character her whole heart, and from the outset we are firmly by Monterey’s side, rooting for her as she navigates the joys of young love…and The Bruises of life’s unexpected detours.
Matthew Martinez, reprising his role from the 2024 festival reading, plays Maximilliano, Monterey’s “adorkable” counterpart. The chemistry between Martinez and Marcelle is immediate and believable from their very first exchange. Martinez brings warmth and specificity to the role, and it is clear this character has lived with him beyond the page. There is an ease and affection in his performance that makes Maximilliano feel fully realized.
It is therefore disappointing that the play’s opening meeting between Monterey and Maximilliano is staged along the edge of the set rather than center stage. Audience members seated on one side of the balcony lose sight of this important first interaction, a foundational scene that establishes not only the characters, but the emotional stakes of their relationship.
Monterey’s older sister Lydia, played by Elissa Cuellar, is her opposite in nearly every way: bold, outspoken, and socially fearless. Cuellar is endlessly charming throughout the production, balancing Lydia’s large personality with genuine affection and loyalty toward her sister. As their mother Lupe, Marissa Castillo brings grounded authority and lived-in realism. Lupe is a practical matriarch shaped by her own experiences, determined to steer her daughters toward what she believes is safer, wiser ground.
When Maximilliano exits the story, Timoteo enters as Monterey’s rebound romance and eventual father of her two children. Antonio Lasanta transitions from handsome charmer to cold and emotionally unavailable very quickly. His presence is seeded through the play’s flash-forward structure, creating intrigue around who he is and how he fits into Monterey’s journey.
From an audio and visual standpoint, the production is cohesive, detailed, and evocative. Cassidy Stanley’s lighting deftly carries us through numerous settings and emotional shifts, while sound designer Yezminne Zepeda’s music choices are nostalgic and sharply place us within a specific cultural and temporal landscape. Preciosa Aivles’ costumes communicate personality, status, and evolution with clarity, and Tania Barrenechea’s scenic design provides a versatile playing space layered with texture and visual interest.
The story unfolds through a series of flash-forwards that offer glimpses into the characters’ futures. The device gives the narrative variation and thematic resonance, though at times it also muddies the storytelling. Early on, transitions are clearly signaled through lighting changes, but those visual markers become less consistent as the play progresses. There are moments when the timeline shifts so frequently between present and future that the narrative becomes difficult to track.
Still, Palestina capably guides her cast through a story filled with emotional peaks and valleys. She demonstrates a strong rapport with her actors and an instinct for emotional truth, even if some of the storytelling mechanics could use further refinement. Olmos’ play is brave in the subjects it explores and sincere in the emotions it evokes. Though rooted in a specific family history, place, and time, THAT DRIVE THRU MONTEREY reaches toward something broader: the messy, enduring human desire to love, remember, and make sense of the lives that shape our own.
THAT DRIVE THRU MONTEREY runs through Sunday, June 7th at Stages Houston. Performances are Wednesday through Saturday at 7:00pm, with matinees on Saturday and Sunday at 2:00pm. The show is two acts, and is about 2 hours and 30 minutes long with one intermission. More information on the theater and the production can be found here.
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