The company of “Somewhere Over the Border.” Photo by Chris Banks.
“The Wizard of Oz” isn’t inherently an immigrant’s tale, but a bit of digging uncovers a staggering plethora of parallels difficult to overlook. Like Oz, the United States held promise of new life for many fighting for the so-called American Dream. But once the curtain is peeled back, reality is stark. “Somewhere Over the Border” at Mosaic Theater Company reshapes the form of the classic tale without entirely shifting its function to display the resilience required of the immigrant journey.
…feels distinctly authentic…worth seeing for its message alone…provides insight into the many stories that are never heard.
“Somewhere Over the Border” is loosely based on the real-life story of creator Brian Quijada’s (book and music) mother who crossed into the United States in search of a new life for her son away from El Salvador’s civil war in the 70s. Though Quijada embellishes to match the musical’s Ozian structure, it never feels absurd in fact, it feels distinctly authentic to the collective story of the melting pot that is the United States.
The one-act musical had its premiere in February 2022 in a co-production between Syracuse Stage and Geva Theatre in Rochester, New York. Shortly after, it was produced in Quijada’s hometown of Chicago at the Windy City Playhouse. Now making its DC premiere with Mosaic Theater Company, “Somewhere Over the Border” brings a fresh take on musical theatre to DC audiences.
The story follows Reina (Pepin), a young single mother in El Salvador dreaming of a life beyond what she’s always known. When she learns of a mysterious man in Tijuana with all of the answers to get her across the border into the United States, she leaves everything behind, including her son. From there she embarks on a grueling hero’s journey, encountering new friends and foes along the way and cementing what is to be an immigrant in this country.
Quijada’s book utilizes the familiar structure of “The Wizard of Oz” as a guide, but never as a crutch. Consistent, yet subtle callouts, ranging from costuming to a bus riders’ version of “Ease on Down the Road,” allow a certain level of audience comfort and buy-in to the real story at hand. Beyond the yellow brick road of it all, the story relies heavily on a mostly useful omniscient narrator who keeps the tone of the piece light. Though the story flounders initially to find a steady clip, the words themselves are quippy and well-paced once Reina begins her journey through Central America.
When it comes to music, Quijada mingles cumbia, mariachi, rock, hip hop, and rap to shift the traditional musical theatre tone to one more deserving of the story it tells. A handful of repeating musical motifs beautifully thread the story together from beginning to end. Nonetheless, the score doesn’t truly answer the question of why this needs to be told as a musical, rather than a play. While the music succeeds at times, a majority of the lyrics are merely narrative and some harmonies are a tad clunky. All in all, it doesn’t feel like the music has as clear of a direction as the story itself does.
Directed by Raymond O. Caldwell, Mosaic’s production boasts a cast of six bringing Reina’s story to life with comedy-sprinkled fervor. As Reina, Pepin balances the gravity of her situation with a genuineness that reminds audiences of the humanity of all of our neighbors. As those neighbors Reina encounters along the way, Oscar Salvador Jr.’s Cruz is supportive and a bit cheeky, while Mejah’s Silvano boasts impressively textured vocals. A late addition to the cast of characters is Gloria Vivica Benavides as Leona, a Mexican nun with rockstar dreams. In her introduction number, “Leona,” Benavides blows the roof of the theatre with impeccably zany, comedic timing.
Rounding out this production, adept technical elements transport audiences into the world of “Somewhere Over the Border.” A nearly round, immersive set by Jonathan Dahm Robertson hangs clothes from the ceiling over the entire theatre surrounding a multi-purpose, movable second level. Costumes by Cidney Forkpah make clear each character’s relation to their classic counterpart while carefully placed sound effects by Brandon Cook fill out the picture painted by a stripped down set.
“Somewhere Over the Border” is a gripping story framed through the structure of a beloved classic. While the music doesn’t quite meet the bar set by the book, the production is worth seeing for its message alone. In a time when human beings lack a genuine desire to understand one another, “Somewhere Over the Border” provides insight into the many stories that are never heard.
Running Time: Approximately one hour and 30 minutes with no intermission.
Advisory: Age Recommendation: 12+. Explores themes of immigration, family, separation, love, resilience, and hope. Includes the use of strobe lighting effects, haze, and theatrical fog.
“Somewhere Over the Border” EXTENDED through October 18, 2026 at Atlas Performing Arts Center, 1333 H St. NE, Washington, D.C. 20002. For more information and to purchase tickets, call the Box Office at 202.399.7993 or go online.
