The issue of self-identity is one that pervades the art of every immigrant community, especially second generation members of those communities. The question one asks is, "Am I American, or am I [insert ethnicity here]?" While the answer usually ends up occupying some space between the two, the revelation lies in the path the artist takes to find a resolution. The route Kathleen Gonzales follows to answer this question is central to The Bridge of Bodies, a rewarding solo performance, written and acted by Gonzales, that is now running at the Mead Theatre Lab at Flashpoint.

The story follows Marie-Therese, a young woman who came to the United States from Haiti as a small child and who holds little recollection of her homeland. Despite her prodding, her mother offers little explanation as to why the two left, and more importantly, what happened to the child's father. The culture clash and experiences of her youth lead Marie-Therese to embark upon a journey through Haiti, where she encounters distant relatives and a variety of colorful characters who eventually lead her to the truth.

Though fairly well constructed, the plot has few surprises. Still, there are several layers upon which the audience can appreciate this piece, and the foremost is Gonzales's emotional performance. She shifts seamlessly through no less than fifteen characters, each of which carries its own distinct mannerisms and accent. Especially impressive is her acting once Marie-Therese arrives at Haiti, where she employs a variety of effective Haitian dialects and sub-dialects while portraying members of multiple social strata. Most memorable is a hunchbacked mystic who guards the entrance to a cave which holds a key to Marie-Therese's spiritual quest.

Director Patrick Crowley provides subtle staging that supports this nuanced performance by leaving space for Gonzales to fill. The floor is colored a simple brown and is surrounded by waves of blue cloth, creating the literal and figurative island in which Marie-Therese finds herself. There are very few props involved, the central one being a suitcase that contains the elements needed to signal the shift from one plot point to the next. The backdrop is a plain white screen onto which mood altering colors and images of Haiti are projected.

The play's program includes a historical timeline summarizing key events between the death of "Papa Doc" Duvalier, in 1971, and the present. In the United States, the image of Haiti is often limited to one of refugees and political strife. Gonzales's writing and acting expands this view by giving a peek into the social complexity of the island, while the plot itself puts this cultural depth into a historical context. The result is that The Bridge of Bodies not only entertains, but also enlightens.

The Bridge of Bodies runs through June 15 at the Meade Theatre Lab at Flashpoint with performances Thursday-Saturday at 8 p.m., and Sunday at 3 p.m. RSVP at 202-315-1340. $20/$10 student