At first glance, the world premiere of “Derecho” by Noelle Viñas at the La Jolla Playhouse may look like a play about politics, but it is more ambitious than that. With a strong cast, the play explores the complex tapestry of relationships between sisters, friends, and spouses and how even the most minor actions can have an impact even more destructive than the most powerful storm. “Derecho is playing at the La Jolla Playhouse through August 18th.

Photo Credit: Ashley Alvarez as “Eugenia Silva” (front) and Caro Guzmán as “Mercedes Silva” in La Jolla Playhouse’s world premiere of DERECHO, by Noelle Viñas, directed by Delicia Turner Sonnenberg; photo by Rich Soublet II.

Eugenia Silva (Ashley Alvarez) is running a campaign for her local district in northern Virginia, hoping to win a seat in the Senate one day. She is serious and polished, a high achiever who went to school, married her successful lawyer husband Gabe (Luis Vega), and has created a picture-perfect life.

Her half-sister Mercedes (Caro Guzmán) is a musician who, after canceling a tour, finds herself living with Eugenia and Gabe until she is back on her feet. While Eugenia is polished and posed, Mercedes is edgier, straightforwardly outspoken, and is trying to build a life outside her overachieving sister’s chosen narrative.

Even with their differences, the sisters are close. Their mother raised them as full sisters and to be proud of their Uruguayan heritage. Mercedes and Eugenia have conversations in asides that have a soft magical realism feel. This subconscious space is where things are more honest, without any performative interference. Eugenia laments that she has lost connection to her heritage and “can’t find my rhythm.”

While a derecho has come through and caused some destruction, and before another one arrives, Eugenia is having her childhood friend José (Jorge Sánchez Díaz) and his wife Soledad (Carla Navarro) over. José is a community and social media leader and is someone Eugenia trusts enough to consider joining her team as her campaign manager. Unbeknownst to Eugenia, her husband Gabe has also invited his college friend Jeff (Eric Hagen) over. However, his wealthy family connections and their actions in the local community may make an uneasy mix.

(L-R) Jorge Sánchez Díaz, Luis Vega and Ashley Alvarez in La Jolla Playhouse’s world premiere of DERECHO, by Noelle Viñas, directed by Delicia Turner Sonnenberg; photo by Rich Soublet II.

Cocktail party small talk soon escalates into more passionate discussions and disagreements about poverty, health, politics, racism, affordable housing, and more. As the derecho outside builds, so do the tensions at the party, leaving one to wonder which will ultimately cause more destruction.

A derecho is a destructive and only windstorm, often accompanied by showers or thunderstorms, and damages can include fallen trees, flying debris, and damage to structures. In Spanish, a derecho can mean “right” - as in just, human rights, and a correct position.

Director Delicia Turner Sonnenberg is no stranger to productions that require a nuanced touch to explore complicated issues. Especially a play like this that contemplates power, racial conversations, cultural and communication code-switching, and the socioeconomic infrastructure of a community and beyond. There is a clear distinction between the carefully crafted and controlled world Eugenia has built and the softer and more vulnerable outside moments between her and Mercedes. The relationship between the sisters is lovely; though they are very different, there is clearly love there.

Alvarez is excellent as she balances the tricky character of Eugenia, who is loving but tightly wound. She is also fixated on creating the perfect image, the perfect house, and the perfect progressive but not too liberal campaign so she can appeal to as many voters as possible. She is smart, driven, and not always likable in her decisions to accomplish what she thinks is right.

Guzmán as Mercedes is sweeter and softer but is no pushover. She is willing to fight for what she wants and thinks is right. She is a mix of rebel and softness, proudly living her Latin heritage out loud, seemingly unlike her sister.

Díaz’s José is intelligent and well-spoken and not afraid to challenge political norms. He articulates the community and social media concerns well, though, at times, the character can feel naive for someone aspiring to be a political campaign manager. Navarro is equally savvy as his fiery wife, Soledad.

Vegas is warm and open as Gabe, though he is also no fool as he is pushed past his limits near the show's end. Hagen’s Jeff is sweet and is trying to do the right thing to correct any unexpected issues he or his family may have caused.

The scenic design by Tanya Orellana is lovely, showcasing a big and beautiful colonial house and many windows to see the storm as it picks up. The lighting design by Sherrice Mojgani highlights the set and the scenes and reflects the storm status as power starts to flicker. The costume design by Dominique Fawn Hill authentically reflects each character. The sound design by Germán Martínez is excellent, as the outside turbulence builds along with the play's interior turbulence.

It can feel slow to start, as it takes time to set up all of the stakes, but the conflicts feel gripping once things fall into place.

There are many layers touched upon as each character, to varying degrees, struggles with personal and cultural identity, political views and desires, and a past that influences behaviors. Covering all this in a one-act can feel muddled and may have been better explored as a two-act. The storm outside could also be bumped up a little to feel as dangerous as possible.

The politics of how to speak to a wide variety of voters is timely, as is the concern that every moment of your and your family's past will be scrutinized and judged - even for a primary local election, which can, in many ways, be more important than the major national races. Representation matters, but who represents you and how also matters.