Tag Archives: Latino Theater Company

Theatre Review: Mix-Mix: The Filipino Adventures of a German Jewish Boy

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Latino Theater Company and Playwrights’ Arena present epic Mix-Mix: The Filipino Adventures of a German Jewish Boy. Written by Boni B. Alvarez. Directed by Jon Lawrence Rivera. Lead producer Olga Garay–English. Produced by Latino Theater Company and Playwrights’ Arena.

Thanks to the generosity of president Manuel L. Quezon, 1,300 European Jews entered the Philippines as refugees during WWII. By issuing Proclamation No. 173 on August 21, 1937, President Quezon encouraged Filipinos to welcome the refugees and instructed government officials to assist them.

Mix-Mix: The Filipino Adventures of a German Jewish Boy tells the story of Rudolph “Rudy” J. Preiss (Casey J. Adler), one of the German Jew refugees that lived in the Philippines. As one of those ironies of life, the Preiss family escapes the Nazi persecution in Germany only to find another persecution in the Philippines, this time in the hands of the brutal Japanese army. Along with his father Isaac (Mark Doerr), his mother Lena (Jill Remez, Deathtrap), and others, Rudy had to run to the mountains and hide from the Japanese.

The story is told from the perspective of a young Rudy and his two Filipino friends Zar (Alexis Camins) and Mousie (Angelita Esperanza), all around the same age. In the middle of the jungle and surviving bombardments, the three kids symbolize the union of the Jewish and Filipino cultures.

To depict the walking through the mountains, Playwright Boni B. Alvarez and Director Jon Lawrence Rivera used dance movements. To depict Mousie’s frustration after the death of her mother Dorna (Myra Cris Ocenar), a choreographed martial arts sequence ensues between Mousie and her father Ramil (Kennedy Kabasares). Other creative elements used to tell the story are projection for the flashbacks and lighting effects for the rain and the bombardments.

Rudy tells stories to his Filipino friends to recount his life back in Germany, his life in the Philippines as a chaperone to movie star Paloma Palma (Giselle “G” Tongi), and his dream of becoming an engineer in America attending MIT.

The performances feel a bit overacted at times, but in general, the play is entertaining and has moving moments that reveal how humans need each other to survive. Rudy and his friends become adults under extreme circumstances, and telling stories to each other is one of the ways to keep their sanity and innocence intact. One of the highlights of the play is the Jewish and Catholic prayers and their comforting effect when everything else seems lost. In general, the pacing of the play and the comedy keep the audience engaged till the end.

As a side note, the real Rudy left Germany at age 9 and left the Philippines at age 19 to study at MIT in the US. His parents stayed in the Philippines for 30 years.

The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles CA 90013

Performances: May 18–June 16
• Thursdays at 8 p.m.: May 30; June 6; June 13
• Fridays at 8 p.m.: May 24; May 31; June 7; June 14
• Saturdays at 8 p.m.: May 18 (opening); May 25; June 1; June 8; June 15
• Sundays at 4 p.m.: May 26; June 2; June 9; June 16

Tickets: latinotheaterco.org

Written by Boni B. Alvarez. Directed by Jon Lawrence Rivera. Lead producer Olga Garay–English. Produced by Latino Theater Company and Playwrights’ Arena.

Cast: Casey J. Adler, Alexis Camins, Mark Doerr, Angelita Esperanza, Kennedy Kabasares, Myra Cris Ocenar, Jill Remez, Giselle “G” Tongi, Mark McClain Wilson.

Creative team: Choreography by Reggie Lee and fight choreography by Alvin Catacutan. The scenic designer is Christopher Scott Murillo; lighting design is by Azra King-Abadi; sound design is by Jesse Mandapat; video design is by Nick Santiago; costume design is by Mylette Nora; and the prop master is Lily Bartenstein. The stage management team includes production stage manager Letitia Chang, assistant stage manager Sam Pribyl and wardrobe assistant Manee Leija.

Theatre Review: Ghost Waltz

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Latino Theater Company presents the world premiere of Ghost Waltz. Written by Oliver Mayer. Directed by Alberto Barboza. Music directed by Alberto López. Produced by Latino Theater Company.

Attesting to the revival of magical realism, Playwright Oliver Mayer incorporates this genre into Ghost Waltz, a sublime play that imagines the traveling life of one the greatest Mexican composers of the 19th century, Juventino Rosas (Quetzal Guerrero), in his meteoric ascend to international success.

Of humble origins, Rosas was an Otomí born in 1868. He started playing music at an early age and was able to join the Mexico City National Conservatory. Eventually, he traveled to the US, playing in cities such as New Orleans and Chicago. In the play, Rosas is invited to the Conservatory by Professor Zeiss (Cástulo Guerra). Rosas’ father is played by Eduardo Robledo.

In Mayer’s story, Rosas meets soprano Ángela Peralta (Nathalie Peña–Comas) at the Conservatory, falling madly in love with her. In real life, Peralta, known as The Mexican Nightingale, was also a Mexican native who reached international recognition as an opera singer. Known in Italy as angelica di voce e di nome, meaning angelic by voice and by name, she performed in the prestigious La Scala in Milan and formed her own touring opera company. The achievements of Rosas and Peralta in the play highlight the success of these two figures of humble origins in the Mexican elite of the 19th century, dominated by Europeans and people of European ancestry.

But the rejection experienced by Rosas from Peralta is also a symbol of the conflictive relationship between Mexicans and their indigenous past. Peralta wears white makeup and a white dress to symbolize the effort to mask her native identity, avoiding the tragic destiny of the natives in Mexico, a life of invisibility.

Another relevant character is Scott Joplin (Ric’key Pageot), also known as the King of Rag. In the fictionalized world of Ghost Waltz, Joplin and Rosas meet in New Orleans and Rosas has a romantic relationship with Joplin’s companion, Bethena (Ariel Brown). The relationship between Rosas and Joplin implies the search of an identity through music. Rosas’ compositions gave Mexico an identity in the sophisticated and elitist world of waltz, a music inspired by German Romanticism.

Joplin started experimenting with different rhythms to achieve an African American musical identity that could be danceable but sophisticated at the same time, something like waltz. According to Marcello Piras, a distinguished music history professor, Joplin was inspired by Rosas in his search for that Black identity.

The Creole clairvoyant Marie Leveau (Monte Escalante) is the link to both cultures. Voodoo, a combination of religion, myth, practice and superstition, has an important influence in music. Both Rosas and Joplin found inspiration in the mystic Caribbean rhythms. Joplin in New Orleans and Rosas in Cuba and the many Cuban musicians that worked in Mexico at the time. These layers of connections and subtexts show Mayer’s creativity and sophistication as a playwright.

Guerrero, a classical-trained violinist, infuses his character with the sensibility of a talented artist and the determination of a man who refuses to give up pursuing his dreams. Peña–Comas shows the reason her career is ascending in the international scene. She has performed in the most prestigious stages around the world. Her captivating voice is an elegant touch to the production and adds depth to the performance. Pageot, a musician who has played with major acts internationally, demonstrates his extensive musical experience and plays his character with the ambition of a young artist eager to leave a mark.

Director Alberto Barboza extracts the spirit of the text and offers a magnificent production with an amazing score, talented performers, and impressive set design, all in coordination to express the magic of the short and fascinating lives of three characters that left a permanent impression in the world of music.

Juventino Rosas died of spinal myelitis in Cuba in 1894 at the age of 26.  Ángela Peralta died of yellow fever in Mazatlán in 1883 at the age of 38. Scott Joplin died of syphilic dementia in 1917 in New York City at the age of 48. In real life, Rosas played for Peralta during her last national tour. As a peculiar note, their remains are both resting in Mexico City’s Rotunda of Illustrious Men.

Ghost Waltz

The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles CA 90013

Performances: May 4–June 2
• Thursdays at 8 p.m.: May 9; May 16; May 23; May 30
• Fridays at 8 p.m.: May 10; May 17; May 24; May 31
• Saturdays at 8 p.m.: May 4 (opening); May 11; May 18; May 25; June 1
• Sundays at 4 p.m.: May 12; May 19; May 26; June 2

Tickets: latinotheaterco.org

Written by Oliver Mayer. Directed by Alberto Barboza. Music directed by Alberto López. Produced by Latino Theater Company.

Cast: Ariel Brown, Monte Escalante, Cástulo Guerra, Quetzal Guerrero, Ric’key Pageot, Nathalie Peña–Comas, and Eduardo Robledo.

Creative team: Production designers Cameron Jaye Mock and Emily Anne McDonald (set, costumes and projections), lighting designer John A. Garofalo, and sound designer Nathan Davis. The assistant director is Giovanni Ortega. Production stage manager Yaesol Jeong is assisted by Gina DeLuca.

Theatre Review: The Travelers

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Latino Theater Company and San Francisco’s Magic Theatre present the L.A. premiere of The Travelers. Written by Luis Alfaro. Directed by Sean San José, based on original direction by Catherine Castellanos. Produced by Latino Theater Company in association with the Magic Theatre and Campo Santo.

Money is tight at the monastery and the Carthusian monks need to figure out a way to survive. In addition to this precarious scenario, the is a hint of rebellion among the monks against the direction of Brother Santo (Sean San José). To complicate things even more, a mysterious man (Juan Amador) is left injured at the doorsteps of the monastery. Now the monks have to tend to him and find out who he really is.

Reality and fantasy are turned into poetry in Luis Alfaro‘s play. His understanding of farm work and religion allows him to create three-dimensional characters that breathe and palpitate the textures of the life in the fields and the consecrated life in a religious order. The Brothers, the product of the fields, were abandoned at an early age by their parents, leaving them at the monastery to keep them away from the hardships of farming. For these kids, the Carthusian Order became a refuge, a home, a second chance in life. In exchange, they needed to offer themselves to God in silence and prayer, separated from the world. However, the austere environment makes the Brothers wonder what life would be beyond their secluded compound.

Even though there are no Carthusian monasteries in California—the only one in the US is in Vermont— the story is an allegory of the monastic experience through the eyes of farm workers from the Central Valley in California. The play shows the goals of the Order of the Carthusians: Intimacy with God through solitude, community, and the liturgy. But the story also shows the doubts the Brothers have about their devotion. Their insecurities, pain, and earthy temptations (they drink and cuss) lead them to achieve a transformation that will define their future and the fate of the monastery.

To turn the poetry of Alfaro’s text into a theatrical experience, Director Sean San José uses stunning visuals—scenery, lighting, background music, and video projections. All of these elements capture and elevate the soul of the story in an emotive fashion. The contemplative nature of the Carthusian way motivates the characters to find the truth deep inside their hearts. And it is that mysterious man, transformed as Brother Juan, the one that leads the way to find their true vocation with surprising results.

The Travelers is a moving play that connects the fruits of the fields with the Catholic faith and shapes them into a poetic vision that feels both ethereal and intensely human.

The Travelers

The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles CA 90013

Performances: Sept. 23 – Oct. 15
• Thursdays at 8 p.m.: Oct. 5; Oct. 12
• Fridays at 8 p.m.: Oct. 6; Oct. 13
• Saturdays at 8 p.m.: Sept. 23 (opening night); Oct. 7; Oct. 14
• Sundays at 4 p.m.: Oct. 8; Oct. 15

Tickets: latinotheaterco.org

Written by Luis Alfaro. Directed by Sean San José, based on original direction by Catherine Castellanos. Starring Juan Amador, Daniel Duque–Estrada, Guillermo Yiyo Ornelas, Sean San José, Kinan Valdez, Ogie Zulueta. Produced by Latino Theater Company in association with the Magic Theatre and Campo Santo. Creative Team: Scenic designer Tanya Orellana; lighting designer gg Torres; sound designer Christopher Sauceda; video designer Joan Osato; costume designer Jojo Siu; and movement director Patricia Ong. The stage manager is Lauren Quan.

 

The Travelers poster
A scene from The Travelers
A scene from The Travelers
A scene from The Travelers

Theatre Review: Las Diosas Subterráneas

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Latino Theater Company presents Las Diosas Subterráneas, created by Mexico City’s interdisciplinary and experimental ensemble Organización Secreta Teatro. Directed by Rocío Carrillo.

Greek Mythology and Mexican reality converge in Las Diosas Subterráneas. The tale of Demeter, Persephone, and Hades blends with the disturbing reality of the disappeared women in Mexico. Organización Secreta Teatro (Pueblo Espíritu), under the direction of Rocío Carrillo, brings to the stage the character Luz García, a young woman representing the countless cases of women kidnapped, abused, and killed in one of the darkest episodes of recent Mexican history. According to the Mexican Institute of Human Rights and Democracy, the number of disappearances of women, girls, and teenagers has tripled in the last six years. In many of those cases, families have to live with the demoralizing anxiety of not knowing the fate of their daughters, wives, sisters, etc.

The play delves into the cases where tips, whether from authorities or anonymous, have led some families to organize groups to dig remote areas, hoping to find the remains of the women that have been abducted and killed. In one of the scenes, a father is faced with the pressing urgency to keep searching for her daughter while still having to provide for the rest of the family. Yes, the search efforts take time, and for poor families, this could mean having to stop working, adding more pressure to the already distressed economy of the household.

Machismo, sex trafficking, drug trade, and inaction from the authorities are some of the factors that contribute to the elevated number of unresolved cases. But the play goes even further than that. It presents the relationship between the traditional attitudes toward women and the final destination of these female victims. The allegory to the witch-hunt is a vivid representation of how women are still seen in the eyes of a machista society—women themselves incite their abduction, rape, and killing, just for wearing revealing clothes, a flirty demeanor, or just for being perceived as a threat to men’s authority.

Through the intricate blend of mythology, colors, dance, and drama, the actors portray the desperation and the pain inflicted on the most vulnerable sectors of society. It also reflects these families clinging on to a ray of hope, as slim as it might be, to find their women alive.

Las Diosas Subterráneas presents these facts with a sense of urgency. Indifference is becoming a part of the problem. While society keeps going on with their lives, there are thousands of families still searching. Still digging. Still crying. “Vivas se las llevaron, vivas las queremos!” They took them alive, we want them back alive! 

Las Diosas Subterráneas

The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles CA 90013

Saturday, May 13 at 8 p.m.

Sunday, May 14 at 4 p.m.

Director Rocío Carrillo. Created collectively by ensemble members Beatriz Cabrera, Alejandro Joan Carmarena, Brisei Guerrero, Stefanie Izquierdo, Ernesto Lecuona, Mercedes Olea and Jonathan Ramos from original ideas by Rocío Carrillo.

Las Diosas Subterráneas poster
A scene from Las Diosas Subterráneas
A scene from Las Diosas Subterráneas

Theatre Review: Whittier Boulevard

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The World Premiere of Whittier Boulevard is presented by Latino Theater Company. Created by Evelina Fernández, Sal López, Geoffrey Rivas, Lucy Rodriguez, and Jose Luis Valenzuela. Directed by Jose Luis Valenzuela.

In a futuristic world, four characters face the predatory policies of a repressive government that deems elderly people a nuance to society. In a controversial action called the Age of Relief Protocol, law enforcement agencies are delegated the responsibility to detain any unmarried person over the age of 75. This discriminatory policy triggers social unrest and the birth of a mysterious insurgent called “Ramone”.

Due to an anonymous tip, Officer Roger Dimas (Geoffrey Rivas, Celestial Events) visits the residency of faded Chicana star Veronica Del Rio (Evelina Fernández, Sleep with the Angels), who is about to turn 75. Roger is greeted by Pilar (Lucy Rodriguez), Veronica’s nurse. Soon, they’re joined by Pablo (Sal López), a senior neighbor and a poet who is in love with Veronica. Roger explains that even though he must enforce the law, he is also troubled by the injustice of the Age of Relief Protocol. As he expresses his admiration for Veronica Del Rio, he also reveals a secret that would get him arrested and prosecuted. The four characters then need to come up with a plan to save both Veronica and Roger from the draconian policies of the totalitarian government.

In the play, seniors are arrested and taken down Whittier Boulevard. This boulevard has been for Chicanos a symbol of their culture, commerce, and lifestyle. It has also been a banner of their activism and resistance in the face of systemic racism and segregation. It’s been a place for cruising and lowriding, but also for historical demonstrations such as the Chicano Moratorium and the Chicano Blowouts. Organizations like M.E.Ch.A and UMAS have used Whittier Boulevard for political activism, and the art collective ASCO used it for artistic expression. It was in Whittier Boulevard during the Chicano Moratorium that artist, author, and educator Harry Gamboa Jr. was anointed editor of the political and arts magazine Regeneración by activist and journalist Francisca Flores. In the play, however, seniors are taken to Whittier Boulevard for more sinister reasons.

The tribulations of Roger and Veronica are a reflection of the struggles that have become a contentious aspect of many in the Latino community. The label “Latino” has been carried as a badge of honor for generations. Latino, an identification that brings a sense of pride. Latino, a label that carries a mark of exclusion and discrimination, a stark difference between first world and third world. As for the character of Veronica, it has a veiled reference to the Dreamers. Her real identity, revealed in extreme and pressing circumstances, give a sense of urgency. As theatre reflects life, Veronica carries the weight of innumerable individuals, lost and saved in political activism with partial results.

A poet, an angel, an officer, and a star in full decline, all trying to save each other. This is the story of generations that lost, won, failed, and succeeded. But the main highlight is their resilience and the willingness to keep on fighting.

Director Jose Luis Valenzuela achieves a fascinating play with notes of Chicano Noir, Latinx Futurism, magic realism, and a cunning infusion of glamour from the Golden Age of Mexican Cinema. The result is a visually stunning production with special emphasis on lighting and projections (lighting designer Pablo Santiago; projection designers Yee Eun Nam and Yuki Izumihara), bathing the characters with a nostalgic vision that honors those that sacrificed their lives for the ones that followed.

Whittier Boulevard

The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles CA 90013

Performances: April 29 – May 28
• Thursdays at 8 p.m.: May 11; May 18; May 25
• Fridays at 8 p.m.: May 12; May 19; May 26
• Saturdays at 8 p.m.: April 29 (Opening); May 13; May 20; May 27
• Sundays at 4 p.m.: May 14; May 21; May 28
• Monday at 8 p.m.: May 15 ONLY

Tickets: latinotheaterco.org

Created by Evelina Fernández, Sal López, Geoffrey Rivas, Lucy Rodriguez, and José Luis Valenzuela. Directed by Jose Luis Valenzuela. Starring Evelina Fernández, Sal López, Geoffrey Rivas, and Lucy Rodriguez. Produced by Latino Theater Company. Creative team: Original music and sound design by Robert Revell; choreography by Urbanie Lucero; scenic designer François-Pierre Couture; lighting designer Pablo Santiago; projection designers Yee Eun Nam and Yuki Izumihara; and costume designer Naila Aladdin Sanders. The production managers are Nathan Edelman and May Fei.

Whittier Boulevard poster
An image of Whittier Boulevard
An image of Whittier Boulevard
An image of Whittier Boulevard

Theatre Review: Pueblo Espíritu

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Pueblo Espíritu is presented by Latino Theater Company. Created by Organización Secreta Teatro from Rocío Carrillo’s original idea. Directed by Rocío Carrillo.

Pueblo Espíritu is some kind of A Midsummer’s Night Dream, Mexican style. Deep in the forest, five characters try to survive the Covid pandemic. Distrusting each other, they need to find a way to work together and fight for their lives.

In order to imagine a brighter future, they need to look back and learn from their ancestors. In a world of images, sounds, and rituals, the characters start to reconnect with their natural surroundings. During that process, their animalistic instincts are heightened and the tribal structure starts to shape the relationships among each other. Even though the characters in Pueblo Espíritu live in modern times, their transformation is a vision to the lifestyle of pre-Hispanic Mesoamerican civilizations. 

Rocío Carrillo takes elements from the Chichimeca peoples to recreate the rituals and mythical figures seen in the play. This production relies on music, colors, kinetics, and lighting to tell the story, as there is no dialogue. The result is an enthralling and emotional journey that enraptures the audience from beginning to end. The modulation of intensities throughout the play is a visual language that is rarely seen in theatre. It’s poetic, mysterious, and open to interpretations. In that sense, the relationship with the audience becomes dynamic, never static.

Pueblo Espíritu is a reference to the values that have been lost in the frenetic pace of today’s world. It is a ritual of life and death, an exorcism to clean the soul. It’s an invitation to go back to the basics, to open up our hearts and minds to Mother Earth. In the words of Michael Cretu, it is the return to yourself, the return to innocence. It is a mystic and cathartic experience worth trying.       

Pueblo Espíritu

The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles CA 90013

May 3 – May 14

  • Wednesday, May 3 at 8 p.m. (opening night)
  • Thursday, May 4 at 8 p.m.
  • Friday, May 5 at 8 p.m.
  • Saturday, May 6 at 8 p.m.
  • Sunday, May 7 at 4 p.m.

Tickets: latinotheaterco.org

Original idea by Rocío Carrillo. Cast: Beatriz Cabrera, Alejandro Joan Carmarena, Brisei Guerrero, Stefanie Izquierdo, Ernesto Lecuona, Mercedes Olea and Jonathan Ramos. Directed by Rocío Carrillo.

Pueblo Espíritu poster
An image from Pueblo Espíritu
An image from Pueblo Espíritu

Theatre Review: André & Dorine

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The Latino Theatre Company presents André & Dorine, a Spain’s Kulunka Teatro production. This play is directed by Iñaki Rikarte.

In film school, they tell you that a good story that connects with the audience is the one you can tell without words, just action. This concept is translated to the stage in André & Dorine, a touching story about an old couple dealing with the devastating effects of Alzheimer’s disease.

Dorine is a cello player who eventually forgets how to play the instrument. André is a writer that still uses a typewriter. With the passing of time, they go through the motions of a typical married life, annoying each other with little actions here and there. Their son takes Dorine to the doctor and that’s when the Alzheimer’s diagnosis is revealed.  At first, André refuses to accept the diagnosis, but as time goes by, reality takes over. This turning point will put to the test the strength of their relationship and will uncover whether or not their love for each other is still holding together their marriage.

The play shows the difficulties, the sadness, and the frustrations of the people affected by the disease and those around them. As her condition deteriorates, Dorine becomes increasingly dependent on André’s help even for the most basic personal care. This new reality triggers André’s memories of happier times when they first met and their son was born. Those memories unlock the intrinsic value of their relationship and give André the drive to keep going despite the challenges ahead.

The use of masks (Garbiñe Insausti, masks) in this production is an ode to the Greek, Roman, Japanese, and other ancient theatrical performances where masks have played an important role in portraying the wide range of human emotions. They add a unique dramatic effect to the story and the performances.

The excellent direction of Iñaki Rikarte shows his mastery at working with movement, music (Yayo Cáceres, composer), lighting (Carlos Samaniego “Sama”, lighting design), and set design (Laura Gómez, set designer) to deliver the compelling message of the story.

The play presents the cycle of life with all of the sadness and happiness that come with it. The end of one love story and the beginning of a new one. The demise of one life and the birth of a new one. A cycle that repeats itself, again and again, as a perpetual movement. The poignant story and the emotional performances of José Dault, Garbiñe Insausti, and Edu Cárcamo touched many hearts and moved the audience to tears.

André & Dorine

Written by El José Dault, Garbiñe Insausti, Iñaki Rikarte, Edu Cárcamo, and Rolando San Martín. Music by Yayo Cáceres. Directed by Iñaki Rikarte. Starring Edu Cárcamo, José Dault, and Garbiñe Insausti. Produced by Kulunka Teatro. Presented by The Latino Theater Company.

The Los Angeles Theatre Center
514 S. Spring Street
Los Angeles CA 90013

Performances: June 8 – June 19:
Wednesdays at 8 p.m.: June 8 and June 15
Thursdays at 8 p.m.: June 9 and June 16
Fridays at 8 p.m.: June 10 and June 17
Saturdays at 8 p.m.: June 11 and June 18
Sundays at 4 p.m.: June 12 and June 19

Tickets: https://www.latinotheaterco.org/