Courtesy of Yale Repertory Theatre

For a fierce three weeks, Mara Vélez Meléndez’s “Notes on Killing Seven Oversight, Management and Economic Stability Board Members” has dazzled and educated audiences, tucking lessons about self-determination between exhilarating drag shows and bureaucratic assassinations.

As the final production of the Yale Repertory Theatre’s 2024-25 season, Meléndez’s work leaves theatergoers craving more of the show’s queer exuberance — underpinned by its Puerto Rican pulse to reflect the pent-up frustration of an entire country in one person.

The show follows Lolita, a young transgender woman and pseudo-vigilante who seeks justice for her beloved homeland of Puerto Rico. Donning a two-piece work suit with three stripes on the vest — in homage to the Puerto Rican nationalist Lolita Lebrón — Lolita infiltrates the Wall Street office of the Oversight, Management and Economic Stability Board for Puerto Rico to kill the seven board members responsible for managing the island’s debt. The debt exceeded $70 billion when the board was created in 2016 by the Puerto Rico Oversight, Management and Economic Stability Act, or PROMESA.

Along the way, a flamboyant receptionist transforms the space into a drag-fueled stage where each board member is embodied and symbolically “assassinated.” As Lolita navigates this surreal journey, she is forced to reckon with identity, liberation and the cycles of colonial power.

The set evokes a cold, sterile corporate office: an elevated platform framed by stark white walls, furnished only with a minimalist desk and a staircase descending to a lower level. Below, a wall of glowing security monitors dominates the space — an eerie nod to the surveillance and government scrutiny faced by generations of Puerto Rican activists under the watchful eye of agencies like the CIA.

Lolita is played by the immensely talented Christine Carmela, whose performance is so heartfelt and refined that it is difficult to imagine anyone else in the role. From her somber opening monologue detailing her father’s firearm to an ABBA lip sync, Carmela’s acting caliber shines for the entire time she is on stage. Hysterical and emotional at times while dry and sarcastic at others, the passionate character is embodied in Carmela’s commitment to the role.

Aside from magnetic emotional highs, Carmela’s talent lies in the way she can fill time. During the inevitable downtime required for numerous quick changes, Carmela was left on stage with the duty of keeping the audience engaged before the story could progress further. She never leaves a dull moment, whether by rummaging through drawers while a soulless bossa nova drones on, hitting a piña colada-flavored vape or defiantly dismantling the PROMESA sign on the wall.

Complementing Carmela is Samora la Perdida, the equally talented actor playing a receptionist-turned-drag queen whose elegance and charisma are only rivaled by drag legends like Tommie Ross, Alexis Mateo and Nina Flowers. Embodying seven different drag personas — from the materialistic mosaic of “Andrea Bags” to the authentic Puerto Rican loverboy Carlos — in just under two hours is no easy feat.

La Perdida’s emotional depth and growth over the course of the show are poignant and unexpectedly tender, revealing the quiet strength beneath and the vulnerability behind the bravado and glamour. While the pageantry and spectacle are entertaining, the meat of la Perdida’s performance lies in their journey to explore the receptionist’s identity. By the end of the show, the receptionist has transformed from an ambiguous figure in an identity crisis to a confident nonbinary drag queen who takes the name Lolita after the woman who inspired her.

Between the opulent entrances and the back-and-forth quips lies a genuine lesson for audiences who may be ignorant of the plight of the Puerto Rican people. Alongside the high-energy drag performances are important conversations regarding decolonization and identity: Would statehood equal liberation? What about the complex role faith plays in one’s life?

Those lessons matter, especially in a political climate where trans people are routinely villainized. Such captivating performances explaining the challenges faced by Puerto Ricans left space for more. There should have been more development of the relationship between Lolita’s Puerto Rican and trans identities. While the receptionist’s character arc felt fleshed out, Lolita’s was less satisfying by comparison.

The true standouts of the production were la Perdida’s lightning-fast costume team. Pulling off such intricate and varied transformations in a matter of seconds was nothing short of extraordinary. Each look emerged flawless, a polished showcase made possible by behind-the-scenes artistry that made clear the team’s precision, creativity and sheer talent.

“Notes on Killing Seven Oversight, Management and Economic Stability Board Members” runs until May 17, offering audiences a few more chances to witness a bold, hilarious, and deeply moving journey. By spotlighting queer Puerto Rican voices, the show is a powerful statement on traditionally underrepresented populations — unapologetic in its politics, rich in its emotions and unforgettable in its theatricality.

The Yale Repertory Theatre is located at 1120 Chapel St.