Hispanic theatre bonds me to my family heritage. I was born in Los Angeles, California, with Latino roots that date back to Spain through the American southwest. I grew up in a decade on the brink of the Civil Rights movement in America. It was a time when it wasn’t cool to be Spanish or […]
Guys And Dolls is playing at Olney Theatre Center! Directing his first show at this venerable venue, the well-known Jerry Whiddon is raising the roof with a brilliant cast that radiates enough energy to light the Empire State Building. This must-see show promises to be a blockbuster hit.
A must-see, wacky send-up, Smartphones, is a fast-paced one-act about the fear of life without a mobile phone. Written in English by Spanish playwright Emilio Williams, award-winning director Joe Banno gives it a larger-than-life staging.
“Is that the real Don Quixote?” whispers one awe-struck, five-year-old boy sitting near me in the GALA Hispanic Theatre, as helmeted actor Roberto Colmenares, gallantly flaunting shield and lance, makes his first entrance down the right aisle.
In 1954, The Tender Land at the New York City Opera was a box office flop. American composer Aaron Copland, already famous for his folkloric, cutting-edge ballet scores, Billy the Kid (1938), Rodeo (1942), and Appalachian Spring (1944, for Martha Graham), felt so humiliated, he left town the next day and abandoned opera composing.
In his first entrance as Moniquito, the foolish courtier, ,Alex Alburqueque slid on his knees in an exaggerated send-up of romantic wooing, Latino-style. From that moment on, Alburqueque, with his instinctive comic timing, total body and soul involvement, enthralled us and made us laugh.
Christine Evans’ Can’t Complain is an exquisitely beautiful play that cuts to the bone. Luciana Stecconi brilliant set plunges us into an in-between world of gradations of gray and charcoal. Gray blankets and sheets, gray pillows, and cushioned arm chairs. A supposedly soothing atmosphere, but one that hurts to be there, like going to a […]
Rembrandt’s “Self-Portrait,” (dated 1659), wearing a coat with upturned collar and crowned with a beret, looms out like an old friend on the Ford Theatre’s proscenium stage. It’s a reproduction of the original displayed in the permanent collection of Washington’s National Gallery of Art.
When my husband, Donald MacLennan, a brilliant physicist whom I adored, passed away in 2014, I decided to renew his subscription to Physics Today. I felt his presence guiding my hand as I made out the check and mailed it. I’m glad now that I did.
Terrifying, intoxicating, brutally straight-forward and shocking, stripped to its gut-wrenching core, Federico García Lorca’s Yerma, modernized as never seen before, opens the GALA Hispanic Theatre’s 40th season. Opening night audience sat transfixed by theater as haunting as a dream; as numbing as a nightmare.