Since the controversy started about the destiny of so called “dreamers” and immigration moved to the forefront of the political spectrum, theatre has become a formidable platform, revealing the many obstacles that face these innocent victims. What has also developed is the now familiar phrase “sanctuary city.” A city that limits its cooperation with federal immigration enforcement agents, to protect low priority immigrants from deportation, while still turning over those who have committed serious crimes. A more appropriate nomenclature would be a “safe city.”

In the new play which adopts the phrase, entitled “Sanctuary City” playwright Martyna Majok redefines this term extending the limitations as to where someone might find their “safe place”. The plot involves the journey of two dreamers B (the boy) and G (the girl), given no names as if invisible, who have spent most of their life in the United States but are considered illegal immigrants. G lives with her mother, an illegal immigrant in an abusive relationship which at times also inflicts physical abuse upon G leaving her with bruises and emotional trauma. When situations become cruel and violent, she escapes and spends the night with B at the apartment he shares with his mother, also an illegal immigrant. B becomes her safe city. After G’s mother applies for citizenship, they move and simultaneously B’s mother decides she is returning to her country of origin leaving B behind to fend for himself. This is when the two dreamers figure out a plan making it possible for B to stay. He finds his safe city in G, who now has her freedom and will be attending college. The situation takes a dramatic turn in the second act which is a spoiler alert.

The first act is nonlinear and abstract using blackouts and short scenes, commanding the attention of the audience. Some last seconds and are like a blink of an eye but manage to be revealing, while others let you settle into the characters before abruptly changing focus. The technique may seem interruptive, but it works in opposition to the second act which uses a more conventional approach. It almost appears as a slide show as the actors change position during the backout with precise movement, split second timing and always hitting their mark to be caught in the incredible shafts of light designed by Isabella Byrd. The set designed by Tom Scutt is a bare platform floating in a sea of darkness as austere as a dreamer’s life. Rebecca Frecknall directs the first act at breakneck speed never slowing down for the warning bumps in the road but rather speeding through the treacherous, winding journey of these brave souls, before she slams on the breaks but cannot avoid the devastating crash in the second act.

Jasai Chase-Owens embodies B with incredible vulnerability while maintaining the strength to support G when she seeks refuge within his domain. His energy is boundless in adolescence and his secrets remain his own as a young adult, as he maneuvers the consequences of his decisions. His performance is passionate and heartbreaking. Sharlene Cruz portrays a powerful G, always able to overcome whatever obstacle may appear. She is a powerful character, always believing but full of doubt. Her actions are always deliberate and honest no matter the ramification. Together they smolder into an erupting emotional volcano. Austin Smith comes into the second act as Henry in a convincing role, albeit written very one dimensional without enough time for exposition. He serves up a fine catalyst but thrown into a situation that is somewhat unrealistic.

It is difficult to connect the two acts. The audience becomes intrigued and mesmerized by the writing style and staging, feeling safe with the seemingly innocent adolescent relationship, hoping they succeed. You understand why they are called dreamers as you get caught up in their aspirations. Then the dream turns into a nightmare of deceit, anger, and confusion. Like being in a “Sanctuary City,” you feel safe but when you step into reality dreams suddenly may disappear. That may be the point?