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ABOUT THE SHOW

​​After the death of her wealthy, far-older husband, a young mother finds herself alone with her teenage daughter for the first time. With a lavish house to themselves and no one to answer to, their newfound freedom creates a world of never-ending fun, where responsibility is out the window and the daughter learns to see things through her mother’s eyes. But as the outside world creeps into their makeshift safe haven, the daughter begins to realize that not everything is as her mother makes it seem.

RUNTIME

This production runs for 90 minutes with no intermission.

CONTENT WARNING

This play includes heavy themes of substance abuse.

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We gratefully acknowledge the support of the Paul M Angell Family Foundation, the Illinois Arts Council Agency and the National Endowment for the Arts, and the Chicago Latino Theater Alliance.

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PLAYWRIGHT'S NOTE

I wrote Poor Queenie a few years after moving out of my hometown of Orange County, California, where I grew up with a front-row seat to the dysfunction of the wealthy coastal families around me. Orange County was shaped by white flight from Los Angeles, and though it’s now incredibly diverse, its very foundation still hums with the undertone of white supremacy—much like the household and main characters of this play, who remain under the influence of their white patriarch even after his passing.

This was the last play I wrote before graduating in 2020—a time when theaters were shutting down and we were all collectively questioning the purpose of artmaking in a moment of global crisis. I didn’t know if I’d ever see a play of mine produced, and honestly, I didn’t know if I should care.

Fast forward to November 2023, when I received an email from a stranger in Chicago: “I just put down your play, Poor Queenie, and I’d love to find some time to talk about it if you’re available.” I was hesitant to get my hopes up, but I got on the phone with Omar Fernandez, AD of Subtext Studio, and immediately felt understood, uplifted, and inspired. It felt like the kind of connection that is only possible in our weird little industry.

Now, seventeen months later, Poor Queenie is coming to life. Thank you to Omar, for discovering this play and taking a chance on it. Thank you to the entire Subtext Studio team for working tirelessly, through good times and bad, to create theater that speaks to our present moment. Thank you to Sonya and the extraordinary cast, design team, and crew for contributing their artistry to this journey. And lastly, thank you to you, the theatregoer, for believing in the magic of live storytelling. You make me believe, too. I hope you enjoy Poor Queenie.

DIRECTOR'S NOTE

I want to take a moment to thank the incredible, amazing women in my life who inspire me daily to keep growing as a strong Latina woman. Especially the women in my familia — they are my heroes, my guiding lights. I wouldn’t be the woman I am today without my incredible mom, Rosy, the strongest woman I know. She taught my sisters Rosy, Wendy, and me how to survive in this life, and how to fight for what we believe in. She taught us how to dream — and to dream big. I dedicate this show to them. This is for them. I’m so lucky to be surrounded by the love and support of amazing women — not just in my family, but also in my circle of friends — women I constantly learn from and turn to for guidance, wisdom, and strength. The story you’re about to see is an example of what can happen when that love and support is taken from us — or worse, never given to us. When we’re left without the safety net we all need to survive in this world. Especially during our teenage years, when we’re most in need of someone to look out for us, to guide us .It’s a reminder that just because someone appears to have it all together on the outside, doesn’t mean they’re not hurting or breaking inside. At first glance, everything might look beautiful — like the perfect dollhouse — but the longer you look, the more cracks you start to see, the more inner pain is revealed. Every household has its secrets — the unspoken, the buried, the wounds dressed up to look like tradition or strength. Toxic traits and painful patterns passed down like heirlooms. But what happens when we choose not to speak of them?What happens when we don’t share the struggles we carry, whether it’s with depression, addiction, or the quiet ways trauma makes its presence known? So often we’re taught to stay silent, to endure, and to smile through it all — because that's what we believe is expected of us. The pressure to appear perfect — to be the strong one, the selfless one, the one who never falls — can feel overwhelming. But when we choose not to talk about what hurts, when we hide the pain, it can continue to affect us in ways we don’t even realize.Growing up, my mom often spoke to me about cycles — how important it is to recognize when a cycle is toxic, and the power that comes from choosing to break it. Too often we see the same destructive patterns — addiction, silence, shame — passed down through generations. Perhaps it's time for us to acknowledge these patterns, to create space where we can talk about them without fear of judgment or shame, and take steps to make real change.As women, we are so often expected to hold everything together — to carry the emotional weight of a family while masking our own anxiety and fears. This story is a reflection of that truth, as well as the strength it takes to release the pain and rise above... or, sadly, the reality of what happens when we stay trapped in it.But my hope — my prayer — is that this story reminds us of our power. That even in the darkest moments, we have the ability to choose differently. To break the cycle. To be the light for someone else. And to never stop fighting for the love and support we all deserve.To the fearless women in my cast and team — thank you for diving in and trusting me. Your bravery, your courage, your hearts, and your vulnerability brought this story to life in a way I will never forget. There is so much power when women come together to create art, thank you for that gift.To my artistic partner and literal sister in life, Wendy — thank you for joining me on this ride, and for being my rock both inside the rehearsal room and outside of it. Your light and brilliance have always been a huge source of inspiration to me — and this time was no different. This work is for all the Queenie's, Amber's, and Livi's out there in the world. We all carry different parts of each of these women within us — the good and the not-so-good. My hope is that we don’t judge them based on fragments of their story, but instead, recognize the full picture. We must see the circumstances life has forced them into, and understand the strength it takes to survive and keep going.These women are not just enduring; they are fighting. They are pushing through, despite everything. They are doing the best they can, and they deserve compassion, not condemnation. We all deserve that same compassion.

CAST

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NATALIA RIVERA (QUEENIE)

Natalia Rivera is an artist deeply committed to creating work that explores themes of faith and love in the face of an ever-changing world filled with challenges. Her artistic practice is driven by a desire to connect people through storytelling, and she is passionate about bringing these themes to life in collaborative environments. As a collaborator, Natalia values the power of ensemble, believing that collective creativity and shared experiences are at the heart of transformative theatre. She strives to create spaces where individuals can unite, grow, and reflect on the human experience together. Natalia Rivera is represented by Big Mouth Talent. 

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SOLEIL PEREZ (AMBER)

Soleil is a proud first-generation Mexican-American artist from the Bay Area, California. Chicago theatre credits include: a home what howls (u/s, performed) at Steppenwolf Theatre; Agnes of God (Nonequity Jeff Nomination for Best Performer in a Principal Role) and Babel at Redtwist Theatre. Television: Chicago PD. She is represented by Grossman & Jack Talent and holds a BFA in Acting from the University of Michigan. For the occasional life update, follow @rubysoleilperez on IG.

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JORDAN LEVENE (LIVI)

Jordan Levene (she/her) is an actor, singer, and dancer living right here in the Windy City! Recent credits include DOGS (Red Theater), Medea (Bump in the Night Theatre Co.), and The Best Damn Thing (The Understudy). She is a proud 2023 BFA Acting graduate of UW - Stevens Point. Please find her in the lobby after the show if you would like to discuss Love Island season 6. jordanlevene.com 

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ANGELINA DAVILA (QUEENIE/LIVI U/S)

Angelina Dávila (she/her) is a Chicago based theatre artist with a BA in Theatre and Performance from University of Illinois-Chicago. After taking a break, Angelina is back to her acting origins, as excited as ever! Her previous credits include FANNY in Forest Theatre Company's On the Verge (2025). As well as YERMA in UIC Theatre's Yerma (2023) and GLORIA U/S in Gloria (2022). Angelina is overjoyed to be working with Subtext Studio Theatre Company as she continues to grow and create as an artist. 

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AUDREY ROMERO (AMBER U/S)

Audrey S. Romero is an actor, writer, dancer, and teaching artist based in Chicago, IL. Recent credits include: Cerimon/Bolt in Pericles, Myrrine in Lysistrata, Renee Shapiro-Epps in Hurricane Diane, Nicole in 21 North (The Theatre School); Alberta/Bestie in American Sink (Studio Luna); Gabby in Have to Believe We Are Magic, G u/s in Sanctuary City, Jessica in Saturday Mourning Cartoons (TheatreSquared). In June of 2025, they will be graduating with their MFA in Acting from The Theatre School at DePaul University. www.audreysromero.com IG: audreysdirtylaundry

PRODUCTION TEAM

ELIANA THEOLOGIDES RODRIGUEZ
PLAYWRIGHT

Eliana Theologides Rodriguez is a writer and dancer based in NYC. Her plays include Indian Princesses (2025 World Premiere at La Jolla Playhouse, 2025 Bonnie Hammerschlag National Capital New Play Festival, 2024 Terrence McNally Fellowship, 2023/2024 Playwrights Realm Writing Fellowship), Marble Rooftop (2024 DNA Workshop at La Jolla Playhouse, 2024 O'Neill NPC Finalist, 2020 John Golden Award for Excellence in Playwriting), Poor Queenie (2021 Goldberg Play Prize Finalist, 2020 Kennedy Center MFA Playwrights Workshop), and JuniPerfect (2021 commission with Adventure Theatre MTC). She is currently under commission at South Coast Repertory and is a proud member of EST Youngblood and the Clubbed Thumb Early Career Writers Group. www.elianatheologidesrodriguez.com

SONYA MADRIGAL
DIRECTOR

Sonya Madrigal (She/Her) is a proud first generation Mexican American actor, director,dancer/Choreographer and teaching artist from Chicago.She received her BFA in actingfrom the University of Illinois at Chicago. Past directing credits include:Fefu and HerFriends (Snails on a Bike),Marisol, Back the the night (UIC), A lullaby for Irving (Cut tothe Chase, Artistic Home), assisted directed The Raveling (Walkabout Theater).Directed Readings include: Witch (The Understudy), ECOS SOROROS (WaterpeopleTheatre). Recent acting credits include the premiere of BERNARDA! (Teatro Vista),Villette (Lookingglass),Pequeños Territorios (Goodman/Destinos) Day of Absence(Congo Square); Hope Part II; A Mexican Trilogy (Teatro Vista); Oedipus Rex and TheAdventures of Augie March (Court Theater).Regional credits include Henry V (RiversideTheater); Letters From Cuba and Our Lady of 121st. Choreography credits include: GoDog Go/Ve Perro Ve (Chicago Children’s Theater),Zulema and American Mariachi(Goodman)Art with an Accent (Teatro Vista). Sonya is proudly an Artistic Collectivemember with Teatro Vista and is represented by Stewart Talent. She is a teaching artist with Steppenwolf, Lookingglass, and Teatro Vista. All the love and gratitude to her familia, her sister/partner and crime on this piece Wendy, and her amazing husband Miguel. Muchas gracias to Subtext Theatre for the incredible opportunity of directing this amazing world premier! Thank you to the incredible women in this cast for trusting me and for going on this journey with me!

TSEELA SOKOLIN MAIMON
STAGE MANAGER

Tseela Sokolin-Maimon is a recent graduate from UIC, and is a Chicagobased Stage Manager and Technical Director. Stage management credits include The Neighbors, the Asshole, and the Celebration, Not About Nightingales, Smart People, Yerma, and Pshitter! (UIC), Eleemosynary (Madison Street Theater), and Innogen (Forest Park Theatre). Technical Direction credits include Blues for an Alabama Sky, Fefu and her Friends (UIC), Throbbin' Wood (Pride Arts), and Judy’s Life’s Work (Definition Theatre)

WENDY MADRIGAL
ASSISTANT DIRECTOR

HARRISON ORNELAS
SCENIC DESIGNER

Harrison Ornelas was born and raised in Chicago IL. He graduated from Columbia College Chicago 15’ and immediately started working in the city’s thriving theater community from storefront to larger houses and festivals. Previously, Harrison has designed sets for Not For Sale 2.0 (2019) and Back In The Day (2019) for UrbanTheater Company and Kid Prince and Pablo (2024) for Lifeline Theatre.

 Currently, Harrison is the staff Technical Director for both Lifeline Theatre and The Black Ensemble Theater. Harrison Ornelas is absolutely ecstatic to be working with Subtext Studio Theatre Company for a fourth time for this production of Poor Queenie and is always searching for his next creative project. Upcoming projects include Shakin' the Mess Outta Misery at Pegasus Theatre.

GINA MONTALVO
SOUND DESIGNER

Gina Montalvo (she/they) is a multi-disciplinary Puerto Rican/Italian artist born, raised, and based in Chicago. She graduated with a degree in Theater Arts with minors in Music Recording and Mandarin from DePaul University and this past fall, Montalvo sound designed for Que Te Vaya Bien by Omar Fernandez, making this her second Subtext Studio production. Outside of Subtext, Montalvo works as a director and stage manager primarily at Free Street Theater, as a piano and songwriting teacher at ELFI Studio, and freelances as an audio engineer. Other recent credits include Ruth on the Rocks (Stage Manager, Sound Designer) with Ricardo Gamboa and Ruth Guerra , Parched H2.0 (Assistant Director) and Rest/Reposo (Ensemble Member) at Free Street Theater. She is incredibly grateful to have worked on Poor Queenie, and hopes you enjoy her sounds. IG: dell_angela_

ZUZEL GARCIA
LIGHTING DESIGNER

Zuzel García (she/her/ella) is a First Generation Mexican-American lighting designer based in Chicago. Zuzel previously attended Columbia College Chicago and has designed several works, including Blood at the Root, Detroit ‘67 (CCC); The American Dream, Qualia, Que Te Vaya Bien (Subtext Studio TC); Chicago Lore(s) (UrbanTheater Company); summertime, an interlude (UIC Theatre).  She has also served as an assistant lighting designer on shows like Urinetown, Not About Nightingales (UIC School of Theatre and Music); Mothering the Movement (Free Street Theater); Black Sunday (Timeline Theatre Company); In His Hands (First Floor Theater); Happy Days Are Here (Again) (Steep Theatre); Splash Hatch on the E Going Down (Definition Theatre). Upcoming projects include: Evanston Salt Costs Climbing (First Floor Theater/Assistant Lighting Designer) and Memorabilia (Teatro Vista/Assistant Lighting Designer)

JEAN GOTTLIEB
PROPS/COSTUMES COORDINATOR

Jean Gottlieb (she/they) is a multi-hyphenated theater artist with thirty years of experience in Chicago theater as a Director, Producer, Playwright, Designer and sometimes an Actor, and has had two plays published (Hard Candy and Descent) through Next Stage Press.

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