Pictured in Goodman Theatre's production of Boleros for the Disenchanted by José Rivera, directed by Henry Godinez is Elizabeth Ledo (Younger Flora). Boleros for the Disenchanted begins performances on June 20 (Opening Night is June 29) and runs through July 26 in the Goodman's Albert Theatre. For ticket information, visit GoodmanTheatre.org or call 312.443.3800. Photo by Eric Y. Exit.

The Puerto Rican cultural experience is so rarely portrayed in American theatre. Outside of "West Side Story" and the joyous, yet cynical song, “I Like to Be In America,” for most theater-goers the experience of these Americans is relegated to insignificant characters in supporting roles in plays unconcerned with their unique culture. Chicago's Goodman Theatre’s latest production of Jose Rivera’s "Boleros for the Disenchanted" will be an exception to this rule. This Midwest premiere of this spirited comedic melodrama has many exceptionally touching elements that detail the near 40 year romance and true life hardships of a Puerto Rican woman named Flora who eventually settles in Daleville, Alabama, with her husband, Eusebio.

Director Henry Godinez and his cast of six exceptional actors weave their tale of heartbreak and sentimental romance in Puerto Rico in the early 1950s when a heartbroken 22-year-old Flora learns that her fiancé Manuelo has been cheating on her and her nearly perfect future looks nearly hopeless. Her proud traditional parents, part superstitious and realistic, want her to find someone who’ll support her before it’s too late. Just as all looks bleak and nearly hopeless, a charming, somewhat awkward national guard soldier appears interested in her and shortly proposes to Flora.

While the first act is very compelling and heartfelt, Rivera’s play is sprinkled with somewhat comedic sit-com like humor and quaint, almost Neil Simon-like jokes that are also more reminiscent of “I Love Lucy” melodrama. From Manuelo’s rationalizations for his almost congenital infidelity to Father Don Fermin’s machete thrashing castration threats the play’s humor detracts from the uniquely emotional serious elements.

The play’s second act is the most critical as all the parts are cast with different actors than act I. Set in the 1990s Rivera diminishes these excessive comedic elements and presents Flora and Eusebio in their twilight years. The now settled Flora is a world-wise mother of six and is tending to her diabetic husband, who is bedridden from amputated legs. In this act the cast shines as each actor plays a completely different character than they did in the first act. Sandra Marquez is simply outstanding as Dona Milla, Flora’s mother in act I, who now plays the elder Flora with grace and power. Felix Solis, who is the despicable Manuelo in the first act, is now playing a priest who’s asked to deliver last rites to Eusebio. And Rene Rivera is remarkably diverse as the comically macho Don Fermin in act I and the older Eusebio in act II.