From L.A.’s historic Teatro Hidalgo to New York’s INTAR, from D.C. to Houston and beyond, September has been a rich month for Hispanic and Latinx theatre artistry in the U.S.
The Bay Area theatre community mourns the loss of the the actor, maestro, and longtime member of El Teatro Campesino.
The Texas-born, Oregon-based playwright imagines a Steinbeck sequel with timely resonance.
From the Broadway debuts of Shaw and female impersonator Julian Eltinge to Dell’Arte’s move to Blue Lake and the beginnings of Chicago Dramatists, September has been a big month for theatre.
A 500-year-old Mexican American tradition is going strong, honoring tradition while picking up topical inflections along the way.
It’s sobering that Luis Valdez’s stirring Chicano protest musical is freshly relevant, but there’s nothing somber about its vibrant new staging.
Multiplicity defines our past and our future, and nowhere is this more true than in the Latinx theatre movement in the U.S.
Latinx theatre as we know it in the U.S. is only half a century old, but its roots are deep and its future boundless.
Luis Valdez’s company retains both its Chicano identity and its broader mission. Next: the return of the troupe’s most famous creation, ‘Zoot Suit.’
In ‘A Mexican Trilogy,’ the actor/playwright tells the story of a family, and a people, with her own creative family, the Latino Theater Company.