Interview: Playwright Gabriel Rivas Gómez on LEVEL UP!

What does it mean to live as your true, authentic self? Latino Theater Company presents the world premiere of Level Up!, a visually stunning, emotionally resonant, family-friendly new play by Gabriel Rivas Gómez that unfolds across everyday reality as well as in a vividly imagined virtual realm. Directed by Fidel Gómez, this technically innovative production runs April 4 through May 3 at The Los Angeles Theatre Center in downtown Los Angeles with six low-priced previews taking place March 26 through April 3.

Blending live performance with projection and inventive design, Level Up! explores identity, family, and transformation in an era increasingly shaped by virtual environments and simulated realities centered around Desi López, a trans tween portrayed by 14-year-old Mathias Brinda, who is afraid to come out to her family. In her oversized hoodie, Desi is seen as a boy IRL (in real life). But inside The Proxy, a richly imagined virtual world within the play’s digital realm, Desi discovers the freedom to exist as her true self: a powerful female warrior with enormous butterfly wings who embarks on an epic quest to save her dying dog and reunite with her mother.

I decided to speak with playwright Gabriel Rivas Gómez (pictured) about his vision for the play, its subject matter and design, and why it was important for it to be a family-friendly experience for audiences.

Thanks for speaking with me, Gabriel, about your new play Level Up! which moves between real life and a virtual world. What inspired you to use a digital realm like “The Proxy” as a space for Desi’s self-discovery?

Thanks for having me! Years ago I read and loved Ready Player One, and I was especially interested in a character whose avatar in the story was a white male but who, in real life, was a Black woman. I was curious about people escaping to virtual worlds to have the freedom to shape their own identities. I spoke with a friend who told me that, especially in this type of open world game, there are large pockets of trans gamers who find a sense of unquestioned identity they crave in the real world.

Mathias Brinda

For the story I’m telling though, it was important that this world is more than simply an escape for Desi. From the moment I started on this play, I knew I wanted the virtual world to unlock aspects of Desi’s family’s past and I wanted family members to be able to see one another in a new light. This isn’t what Desi is after at the beginning of the play, but it is what she needs.

Desi’s journey centers on identity and the courage to be seen. Is the character based upon a real person or a compilation of several people from your life?

I think all my characters, including Desi, represent pieces of me. But really, she has been shaped by a collection of people. We first workshopped the play in Minneapolis at Children’s Theater, where we met Mathias Brinda, who plays Desi. Since then, she has been a part of each workshop and is playing the lead for this production. So, her fingerprints are all over this character.

Mathias Brinda and Xol Gonzalez

Particularly, she has been quick to remind me that something I’ve written feels like “two months ago” and she provides me the lines that someone her age would actually say today. She’s been a joy to work with and it’s been really incredible to see how she’s grown (both physically and in her craft) since we started developing this play.

How did you approach writing a trans tween character in a way that feels authentic and accessible to multigenerational audiences?

It’s been important to me that this play feels authentic. Throughout this process we have made a point to incorporate actors, designers, consults and dramaturgy from a trans/non-binary perspective. Members of the current cast as well as each cast we have had in workshops are trans or nonbinary, and their perspective has been really valuable. In addition, we consulted with a trans video game designer, Elliot Yu, who was able to both comment on the script and offer insight as to how we could go about putting a video game on stage.

Xol Gonzalez, Andi René Christensen, and Khalif J. Gillett

In terms of making the play multi-generational, that’s really been part of the focus from the beginning. I think there are character arcs and perspectives throughout the play that are honored and that, I hope, will allow people of different ages to see pieces of themselves on stage. If families can come see this show and later, over dinner or ice cream, have a discussion about what they saw - each seeing the play differently - that feels like a huge win for me.

Absolutely, Plays are meant to inspire communication and discussion with others. Level Up! blends live performance with projection and immersive design. How did the technical possibilities influence your writing process?

Early drafts were very much over-written, in part because I needed to get a handle on the virtual world. Each draft involved me adding in spots but also cutting quite a bit of detail. Still, the tech in this play is a challenge. But we have a team who is as curious as they are brilliant. And as designers began to play with possibilities, it became clear that more cuts were needed because they were already able to show moments I had put into words. The design aspects of this play are all breath-taking, and I’m so excited for audiences to see all the work that has gone into this production.

Mathias Brinda, Xol Gonzalez, Khalif J. Gillett

You’ve described the stage as a kind of “interface” rather than a traditional set. How did that concept shape the structure and storytelling of the play?

Our director, Fidel Gomez, was the first to refer to the set design as an interface and we’ve run with it. The set is almost entirely projectable space, and we have several pieces that provide depth and really wonderful pictures. The play moves between and sometimes blends the real and virtual worlds, and the designers have really done a wonderful job establishing and then blurring these lines. Fidel is a gamer, and from the beginning he understood that so much of the clarity and storytelling in this play would be visual and immediate, and it’s all really come together now.

Sol Marina Crespo and Andi René Christensen

Family plays a central role in Desi’s story. What conversations or tensions within families were most important for you to explore?

Everyone in this play has struggled with grief and loss. The play starts with news that Azlan, Desi’s dog, is dying. Desi has lost her mother. But these characters have been carrying their grief individually. So what starts as Desi’s journey to save her dog becomes a quest to save herself - but this can only happen when she feels seen by her family, and when she sees them in a new light. Nobody in this family is a villain, but they all have been shaped by their own grief and loneliness.

Mathias Brinda, Andi René Christensen, Xol Gonzalez, Khalif J. Gillett

Your work often focuses on justice and giving voice to the voiceless. How does Level Up! continue or expand that mission?

At one point, Desi admits that she’s seen the news and that it gives her nightmares. Today, LGBTQIA folks are targeted, and trans people in particular are being demonized. Trans people of color wear the biggest targets on their backs. We all know this isn’t new. Attempts to dehumanize the “other” are a tactic we’ve seen throughout history all over the world. And when this happens, I think artists have a responsibility to tell stories that re-humanize people who are targets of xenophobic and dehumanizing rhetoric.

Mathias Brinda and Khalif J. Gillett

I think that Level Up! does that. It’s not a play that stands on a soap box. It’s a story about a kid who feels alone in the world and feels like she wasn’t meant for real life. It’s a story of a father who is doing his best to raise young men while missing his other half. It’s a story about an older brother who comes to understand his sister and goes from being someone who belittles her plight to being her biggest ally. It’s the story of a mother who is something between a spirit and an NPC (Non-Player Character) who is trying to put her family back together. It’s the story one of those dogs we really don’t deserve who makes sure their people are ok despite their own pain. It’s a story, I think, that is both epic and familial, and I hope it’s one that people in which they will see pieces of themselves.

Richard Azurdia and Mathias Brinda

The play is described as both emotionally resonant and family-friendly. What challenges come with balancing complex themes like gender identity with accessibility for younger audiences?

I think themes like gender identity are easier for younger audiences to digest than older audiences. I work with young people as a community college professor, and I think young people have a tolerant, compassionate handle on gender identity and fluidity. But I really do hope the play is accessible for audiences of different ages. It was important to me to give each character in this play a clear arc so that whomever an audience member connects to, they see them trying to grapple with gender, grief, loneliness, and love. I think by giving each of these characters depth, I’m inviting connection - and maybe even a new understanding of topics that can be difficult to talk about.

Xol Gonzalez and Richard Azurdia

You’ve collaborated closely with a diverse creative team, including trans and gender-fluid artists. How did those perspectives shape the evolution of the play?

The collaboration with trans and gender-fluid artists has been invaluable. The people we have worked with- not just in this production but in each workshop have been as sharp as they are creative and when they’ve spoken, I’ve listened. So the play has changed dramatically since my first draft. These changes have included anything from line changes or cuts to structural changes. Each workshop and now as we head into production, the older gender fluid actors take the younger actors under their wing. I think this has helped establish an environment where people can ask questions and speak their mind - which has been really helpful. I’ve told both Fidel and Mathias - who have been on this journey since the beginning - that this play is no longer mine, it’s ours.

Andi René Christensen

This project has gone through multiple developmental stages and productions in different cities. How did the play change over time, and what did you learn from those iterations?

Early drafts of this play were very much over-written, and that is something I’ve come to expect from my process. In each revision I’ve tried to sharpen character arcs and cut the fat. About ten minutes before the first reading of the play in Minneapolis, Jose Luis Valenzuela recommended that I cut an entire scene. He said I had a chance to hear the play without the scene to see if I needed it. So we cut it and I didn’t miss it. It hasn’t come back. By the time we had the play workshopped at Alliance Theater in Atlanta, they needed the play to be in the 70-page range - so I had a lot of trimming to do. I think the play had been 86 pages prior to the workshop. But this really helped me focus on what was essential to the story I was telling. At this point the script is much tighter and more focused than it was previously.

Andi René Christensen, Mathias Brinda, and Khalif J. Gillett

How did you go about casting the current production? And have you worked with any of them previously?

For this production, we knew we wanted Mathias, as she had been on board all along. She had booked another project by the time we had dates set. Luckily Jose Luis and the Latino Theater Company were able to be flexible with dates so she could still be in the show. They understood how important she has been to the play, and I appreciate all they have done to make this happen. Richard Azurdia was actually in my first play and I’ve known what a talented actor he is. The rest of the cast I have not worked with before this production, though I have seen some of their work. The entire cast - Andi, Sol, Xol, Mathias, Richard, Khalif, Wiley, Mauricio and Celeste are people who I would happily work with again. They are all talented, smart, hardworking actors. This play has been made better because it has their fingerprints all over it.

Mathias Brinda and Andi René Christensen

At its core, Level Up! asks what it means to live as your authentic self. What do you hope audiences, especially young people, take away from Desi’s journey?

I was nervous that with this current administration there might not be an appetite for this play. Unfortunately, in the here and now it is risky. But Jose Luis and LTC have been steadfast - it is because of our current times that this play is even more necessary. I hope that young people feel seen in this play. I hope that they see theater that is FOR them. I hope that this play may help families start conversations that may have been buried for some time.

Xol Gonzalez

Anything else you would like to add about yourself or the play?

There are so many talented people doing so much incredible work on this play. And I think the Latino Theater Company is breaking new ground with the production. They have embraced this multigenerational play and have made it as accessible as possible. They are offering free matinees to local schools. They are offering discounted family packs of tickets, and they are offering free childcare during Saturday matinee performances. So I hope people bring the family and see a show together.

Thanks so much!
Thank you, Shari!

Level Up! opens on Saturday, April 4 at 2 p.m. with performances running through May 3 on Thursdays and Fridays at 8 p.m., Saturdays and Sundays at 2 p.m., with six preview performances taking place March 26 through April 3 on the same schedule at The Los Angeles Theatre Center, located at 514 S. Spring St., Los Angeles, CA 90013. Parking is available for $8 with box office validation at Los Angeles Garage Associate Parking structure, 545 S. Main St., Los Angeles, CA 90013 (between 5th and 6th Streets, just behind the theater).

Foreground: Sol Marina Crespo
Background: Wiley Naman Strasser and Mathias Brinda

Tickets to Level Up! range from $10 to previews and for all Thursday performances to $48 on Fridays, Saturdays, and Sundays, except students and seniors, who pay only $24, and the opening matinee on April 4 which is $75 and includes a post-performance reception. A Family Pack (two adults and two children) is available for performances on Fridays, Saturdays, and Sundays (except previews and the opening matinee on Saturday, April 4) for $100, with a $20 add-on ticket for additional guests. For more information and to purchase tickets, call (213) 489-0994 or go to latinotheaterco.org.

Richard Azurdia, Andi René Christensen, and Mathias Brinda

The play is appropriate for ages 10 and up. Free child care for kids ages 4 and up, featuring fun, age-appropriate activities led by a trusted childcare team, will be provided during Saturday matinee performances; all participants must be potty-trained.

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