So there’s teenage Eva (Jacqueline Guillén), bursting into tears on a promenade night time gone fallacious, wanting so badly the solace of her mom (Maria Elena Ramirez), however having solely her sweetly bumbling father (a terrifically successful Triney Sandoval) to drive her dwelling.
There is Eva’s little brother, Aaron (Tyler Alvarez), morphing from a young, kindhearted boy into a person with a military-macho carapace. And there’s her large brother, Christian (Bobby Moreno), stalked by terror that his life will disintegrate — that his American spouse and the American household they made could have to do with out him.
Moreno is a advantageous actor, however Christian, after we first meet him, is simply 23. Moreno, who’s married to Bettis, appears at the least a decade older — a distraction that makes you marvel how outdated Christian was when he obtained right here and the way he might have been pre-verbal then. It additionally throws off the supposed dynamic between him and his siblings, significantly in a scene that dips into sentiment, calling again to the blanket forts and scorching strawberry milk of their shared childhood.
That second, like a too-prophetic line that Billy speaks in early 2016 (“With a new president on the horizon, who knows what the laws will look like”), is an indulgence in a play that’s in any other case considerate and restrained. Its energy is in its simplicity, and in the vividly common Americanness of its characters.
To its credit score, “72 Miles” doesn’t go the place you may assume it’s going to, but it surely does finally deliver us to Anita, together with her household, in the flesh. And if that reunion is staged a little bit awkwardly, we’re nonetheless awfully glad to see her. Over the cellphone, we’ve grown to know her voice so properly.
72 Miles To Go…
Through May three on the Laura Pels Theater, Manhattan; 212-719-1300, roundabouttheatre.org. Running time: 1 hour 30 minutes.