The rap on the wrap-up of the 2010/2011 Hispanic Theatre season in Washington D.C. is that as far as audiences are concerned, GALA Hispanic Theatre and Teatro de la Luna must be doing something right. In spite of funding cuts, the two Spanish-speaking theater groups have enjoyed strong box office support, garnered positive to enviable […]
The full moon appeared the biggest and brightest in 20 years last weekend when The 3 Rascals (A3vidos) performed at Teatro de la Luna. The moon in its orbit arriving at its closest point to the earth took part in a happy coincidence.
Cabaret artist Graciela Rodriguez from Uruguay has a lot to say about the battle of the sexes. Why do women fall in love with men who are jerks, fools, idiots, and dorks and make them suffer?
The children’s totally-into-it involvement is what makes this play so magical. By the end, Drops of Water is a splash hit without wasting a drop of water.
Teatro de la Luna’s XIII International Hispanic Theater Festival continued on a roll with a richly profound, absurd black comedy from Spain about waiting. Three sisters, who are triplets, wait for the happiest day of their lives: a wedding and a first communion. Nobody comes. Nobody leaves. Nothing happens.
Here’s breaking news. Women have just as many extra-marital affairs as men do. Is this factual? It’s a play. It’s all fantasy by the stereotype-smashing, Venezuelan playwright Elizabeth Fuentes.
We’ve all been through hellish family reunions so we can relate to Dino Armas’ character-driven, black comedy about two sisters, one a mother, and her disabled daughter. In Teatro de la Luna’s 2004 International Festival of Hispanic Theatre, the Uraguayan Heartstrings won enough praise to inspire artistic director Mario Marcel to revive it in 2010.
Teatro de la Luna gives the 1971 Argentinian comedy Chumbale by Mario Marcel it Washington area premiere.
Aristides Vargas, who was born in Argentina but lives in Ecuador, takes us on a jaunty, if not disjointed journey that evokes that hollow, pit-in-the-stomach feeling that comes from arriving in strange, unfamiliar places.
Every storyteller knows that a good fable has a moral. The Cat and the Seagull has a beautiful one, loaded with enough imaginative power to spellbind adults as well as pre-schoolers for 50 magical minutes.
Whether Andrea Julia is fluttering a fan, talking to a doll, or writhing in agony with a wire sculpture, this chameleon-like, Argentine actress embodies Federico Garcia Lorca,
Before a packed house at the Gunston Arts Center, Saulo Garcia, a one-man miracle takes us on a jittery joy-ride representing a cast of thousands— the immigrants who trade in their Latino identities for the American Dream.