Latinx Theatre

Olga Sanchez reflects on Day Four of the Encuentro de las Américas International Convening on 12 November, 2017 in Los Angeles, California.

Jose Luis Valenzuela delivers an Encuentro de las Américas Manifesto as a part of the 2017 Latinx Theatre Commons International Convening in Los Angeles, California.

An overview of the history and progression of the Latinx Theatre Commons by Brian Herrera, as the LTC enters its fifth year of cross-cultural collaboration and lifting up and strengthening Latinx and Latin American Theatre.

Marci McMahon reflects on how Diane Rodriguez’s The Sweetheart Deal breaks gendered stereotypes about the Chicano Movement of the 1960s and ’70s. 

Georgina Escobar reflects on the past four years of Latinx Theatre Commons (LTC) convenings, and developing an understanding of “Latinx aesthetics.”

Abigail Vega writes about the process for choosing shows for the 2017 Encuentro de las Américas festival. / Abigail Vega escribe sobre el proceso de selección de obras para el festival Encuentro de las Américas 2017.

Marci R. McMahon shares Su Teatro's production of the docudrama Más, a piece where teachers, students, and community members are trying to keep the Mexican American Studies program alive in Tuscon.

Trevor Boffone, the creator of the 50 Playwrights Project, a digital archive of interviews with Latinx playwrights, discusses how he founded the website and what’s he’s learned since the project launch.

Carlos Morton on the revival of Simply María, or The American Dream by Josefina López in Los Angeles.

In the last installment of the series, Briandaniel Oglesby reflects on his queer adaptation of Romeo and Juliet, and advocates for more queer-centered theatre made with and for young people.

Trevor Boffone looks at the provocation of Native Gardens by Karen Zacarías in Houston and the conversations it’s starting about Latinx theatre.

The Latinx Theatre Commons receives the Peter Zeisler Memorial Award.

In this installment, Choreographer Carlos Rivera talks about indigenous theatre in Quebec, highlighting the work of Yves Sioui Durand and Catherine Juntas of Les Productions Ondinnok.

In this first installment of a three-part series, Armando Molina writes about funding for theatres in Los Angeles, California.

Arlene Martínez-Vázquez discusses the rise of bilingual, Latinx plays produced in Seattle, Washington, advocating for hiring bilingual, Latinx artists involved in the programming and decision-making for these shows.

Puppeteer Cecilia Cackley interviews Gabriela Céspedes, a leading caja lambe-lambe puppet artist based in Argentina.

Trevor Boffone writes about teaching Emilio Rodriguez’s Swimming While Drowning in an Intro to LGBT Studies class at the University of Houston.

In this third installment, Jadele McPherson discusses how artists (both past and present) influence each other across the African diaspora, and advocates for more contemporary artists to acknowledge their ancestors.

Carlos Morton discusses the latest revival of Luis Valdez’s Zoot Suit, examining its production history and corresponding socio-political events.

In this installment, Lighting Designer Jesse Portillo discusses his background, design process, and work with a couple Utah theatre companies.