Chicago Tribune - Somewhat Recommended
"...There is nothing here to dispel the notion that Diaz is poised to become an important and exciting American playwright. But the youthfulness of this early piece shows. And the premiere production from Jaime Castañeda is a bit of a mess."
Chicago Reader - Not Recommended
"...somewhere in the middle of act one Diaz's elaborate theatricality begins to feel forced. It becomes harder and harder to ignore that his story is inconsequential and unlikely, and Welcome to Arroyo's starts looking like what it is: a first play, written while Diaz was still in college. If ATC artistic director PJ Paparelli is correct when he gushes that this script represents "the future of American theater," then American theater is headed off a cliff."
Windy City Times - Highly Recommended
"...don't be fooled by the streetsmart idiom spoken by the duo of DJs who serve as our omniscient narrators ( "Hey! We're the chorus!" they inform us, "We're in a different theatrical reality!" ) . Diaz was in his mid-20s when he wrote this thinking dude's romantic comedy ( seven years before The Elaborate Entrance of Chad Deity became a Pulitzer contender ) , and still sufficiently imbued with youthful braggadocio to flaunt his education—did I mention the hit-and-run reference to Martin Luther's ninety-five theses?—while never stooping to sophomoric self-indulgence."
Copley News Service - Somewhat Recommended
"...Along with the confusing and unpersuasive main storylines there is a perplexing ongoing discussion of sushi that must have fallen into Diaz’s script from another play. And the entire play is drenched in the f--- word in all its various manifestations. The playwright apparently finds the relentless use of the word either funny or expressive. I found it gratuitous and wearisome."
Time Out Chicago - Highly Recommended
"...
Arroyo’s has its imperfections. A romantic subplot between Molly and Officer Jeter, for instance, never stops seeming contrived. But Castañeda’s sensitive, often hilarious production gives this deceptively wise play the debut it deserves. Channeling Afrika Bambaataa, Lelly reminds Molly that graffiti forms one of the four pillars of hip-hop (along with deejaying, emceeing and break-dancing). Thanks to Diaz and ATC, it’s not so crazy to imagine theater as the fifth."
ChicagoCritic - Somewhat Recommended
"...The story searches for personal identity and family bonds using the motif of hip-hop culture. There are some warm and funny moments but the play comes off as a modern fable with raw contemporary elements. The story has under developed characters that evoke little empathy. I left the show with many unanswered questions. A more focused story with more character development would have made the work more engaging. Diaz’s talent for getting audiences enchanted with hip-hop cultural was infectious – too bad he offered such a weak story. Some will feel that the hip-hop elements were enough, I still crave more story."
Chicago Stage and Screen - Recommended
"...Keith Pitts and David Ferguson cleverly use the space at American Theater Company to transform this old warehouse space into an apartment, a lounge and the back alley of the local police station, making it easy to see all the action despite a couple of girders that make the roof stay in place. Charles Cooper's lighting works to keep each section of the stage alive and the clever little rewind scenes that are done with great lighting and sound by Rick Sims are a masterpiece of theater. The audience loved it. "
