®
E WORLD PREMIER BY Z WRITTEN R RICARDO PÉREZ GONZÁLEFEB MA BY DIRECTED BAL 26 22 DAVID MENDIZÁ T EAT
DON’E S TH MANGO from the desk of Loretta Greco
WELCOME TO MAGIC. WE’RE SO HAPPY YOU’RE HERE. I can think of no better way to begin the New Year than by introducing Ricardo Pérez González as we unveil the world premiere of his wickedly funny tragedy, Don’t Eat the Mangos, with you, the Bay’s most adventurous new play audience! Mangos is a quintessential Magic play. It is brave. It insists on seeking and speaking truths that few dare to acknowledge, let alone speak aloud so that we may heal. It embraces the messy and never-ending business of growing up and learning to be true to oneself, while wrestling with the ever-evolving idea of home and our obligation to it. It is a play that manages to vividly introduce us to a whole new world—at the same time enabling us to recognize ourselves anew. I was captivated by this coexistence of the new and the familiar within only the frst few pages, as Ricardo transported me to his family neighborhood in Carolina, Puerto Rico, as three grown sisters argue as only sisters can—tag-teaming over shared history as rapidly as they shift from Spanish to English. I knew these women down to my core. I recognized their restlessness, no holds barred criticism of one another, and, yes, their complicated love—for each other, for familia, for home. I was fascinated by Ricardo’s interrogation of our patriarchal paradigms and the way he explores the reliability of memory—especially our perceptions of shared experiences and the unique individual truths we forge in order to survive. “Cálmate, ‘mana, no one’s saying it didn’t happen,” Yinoelle chides her sister Ismelda early in the play,” It just didn’t happen to the rest of us.” With this excavation of his familial legacy, Ricardo embarks on a new fertile odyssey. In Mangos, he reminds me of both Sam Shepard and Nilo Cruz, two Pulitzer Prize-winning Magic writers whose plays reached new depths and new heights when they returned to their roots for the frst time— Shepard when he returned to Illinois with Buried Child and Cruz when he returned to Cuba with A Park in Our House. We look forward to hearing your response to Mangos and to the impact of Ricardo’s insightful work in future seasons at Magic and throughout the country—as he undoubtedly will elevate the canon for years to come. We are forever indebted to David Mendizábal, our wonderful director, who has been at Ricardo’s side since the play’s inception and who brought this beautiful writer to our attention, and to Jacob Padron, the founder of The Sol Project, who cajoled Ricardo to tell his story, then developed and championed the play as he and The Sol Project have for so many thrilling Latinx plays and playwrights across the country. As it takes a village, we also want to thank our friends at Sundance Theatre Institute, especially the incomparable Chris Hibma, who supported Ricardo and David’s further development of this play; the beloved Tournesol Foundation, for providing us with an additional developmental workshop before we began rehearsals; and the Andrew W. Mellon Foundation, for our playwright residencies as well as their constant support of Virgin Play Festival, from which this play sprung. Late-breaking news: a week before this program went to press, two of our esteemed National New Play colleagues—Portland’s Milagro Theatre and Cleveland Public Theatre—have joined in the adventure, making Don’t Eat the Mangos an ofcial NNPN Rolling World premiere and providing Ricardo with the invaluable opportunity to have three creative teams work on his new play in three world premiere productions across the country all within the same year! We are exceedingly grateful to Nan Barnett and Jordana Fraider at NNPN for their fellowship, leadership and undying support of new work. Finally, I’d like to take a moment to celebrate Nancy Livingston who unthinkably passed away this November. Nancy was an absolute force of nature who wholeheartedly relished, championed and supported the Arts. I don’t believe there is a person living in the Bay area who hasn’t benefted from that passion. A lot of you knew Nancy from her unparalleled board leadership at ACT. She and Fred Levin, her husband and best friend of 40 years, adopted me (as they are wont to do) when I came to direct Blackbird and Speed the Plow at ACT another life ago. After I received the ofer to helm Magic, they whisked me of to Le Colonial and over dinner made a list of pros and cons. They have supported Magic ever since, from the very frst Oedipus el Rey to this fall’s The Chinese Lady. I always teased Nancy about being on the wrong board, calling her a closeted lover of new plays. She was fascinated by the crazy beautiful gestation of a new work for the stage. I feel so lucky to have had a long lunch with her and Fred and the playwright Lloyd Suh just weeks before she passed. Nancy, in her usual fashion, peppered Lloyd with all sorts of questions about his views of China and the making of his latest play. She was even then full of life. We were so privileged to know her. Our thoughts and prayers extend to Fred and their beautiful family. THANK YOU FOR BEING HERE. With passion, Loretta
2 MAGICTHEATRE.ORG Photo by Bruce Damonte Magic Theatre presents
The National New Play Network Rolling World Premiere of DON’T EAT THE MANGOS written by Ricardo Pérez González CAST directed by David Mendizábal Ismelda Yetta Gottesman* Yinoelle Elena Estér Opening Night Wicha Marilet Martinez* March 4, 2020 Mami Wilma Bonet* Season Producers Papi Julian López-Morillas* John F. Marx and Nikki Beach Toni Rembe and Arthur Rock CREATIVE TEAM Clay Foundation West Scenic Design Tanya Orellana Sandra Hess Costume Design Brynn Almli** Kathryn Kersey Lighting Design Chris Lundahl Larry Goldfarb Sound Design Sara Huddleston Don’t Eat the Mangos Producers Dramaturg/Casting Sonia Fernandez Mike and Lea Ann Fleming Stage Manager Shane Spaulding* Valerie Barth Props Design Libby Martinez Fight Director Dave Maier Associate Producers Scenery engineered ACME Scenery Company Courtland and Donna LaVallee and built by David Gardner
Don’t Eat the Mangos was developed and supported through a partnership between The Sol Project and Magic Theatre. * Member of Actors’ Equity Association, the Union of Professional Actors Don’t Eat the Mangos is produced at Magic Theatre and Stage Managers. as part of a National New Play Network Rolling World ** Member of United Scenic Artists local 829, which represents the Premiere. Other partnering theatres are Cleveland Public designers and scenic painters for the American theatre. Theatre and Milagro (Portland). For more information The video and/or sound recording of this performance by any means whatsoever are strictly prohibited. please visit www.nnpn.org.
This theatre operates under an agreement with Actor’s Equity Don’t Eat the Mangos was developed, in part, at the 2019 Association, the Union of Professional Actors and Stage Sundance Institute Theatre Lab. Managers in the United States.
ARTSLANDIA.COM 3 YETTA Trópico. Elena has also starred in two feature flms, numerous short flms, and commercials. biographies GOTTESMAN* Elena studies dance and has performed/ ISMELDA taught internationally as a salsa dancer/ (she/her) had instructor. Passionate about languages and RICARDO PÉREZ the pleasure of traveling, Elena speaks Spanish, Portuguese, workshopping French, basic Mandarin Chinese, and is GONZÁLEZ Don’t Eat the just beginning German. She will also learn PLAYWRIGHT Mangos at the her native Quechua and would love to work (he/him/she/her) Sundance Theatre in each of the languages she speaks. She is a queer Puerto Lab in Utah in July studies at Beverly Hills Playhouse/SF. Rican writer 2019. She is thrilled to be making her Magic with bacalao on Theatre Debut! New York credits include: MARILET his breath and Recent Alien Abductions (PlayCo, written and Salsa on his hips, dir. by Jorge Ignacio Cortiñas), The Last Days MARTINEZ* recently fnished of Judas Iscariot (World Premiere, The Public WICHA writing on the third season of Netfix’s Theater written by Stephen Adly Guirgis/dir. (she/they) makes Designated Survivor. After developing Don’t Philip Seymour Hofman), Touch (Women’s her Magic Theatre Eat the Mangos at Sundance, his play, On Project, written by Toni Press-Cofman / dir. debut in Don’t the Grounds of Belonging, about racially Loretta Greco), Where’s My Money? (World Eat the Mangos. segregated gay bars in 1950s Houston, Premiere, LAByrinth Theater Company and Recently relocated the frst in a trilogy, premiered at Long Manhattan Theatre Club, written and dir. by to Chicago, Wharf fall of 2019. Long Wharf has since John Patrick Shanley), Underneath My Bed Marilet is a San commissioned the second in the trilogy. (Rattlestick Theatre, written by Florencia Francisco native, actor, improviser, teaching He is also working on commissions for The Lozano/dir. Pedro Pascal). Regional Theater: artist with an emphasis in trauma-informed Public Theater and Manhattan Theatre Club. Gefen Playhouse, The Fountain Theatre, practice, and fght choreographer. Bay Area Other upcoming projects include Orlando, Denver Center for the Performing Arts, where credits include: Walls (Zaniyah), San Francisco a pilot with Nina Tassler about the Puerto she received an Ovation Award Nomination Mime Troupe; Heart Shaped Nebula (Dahlila), Rican diaspora after Hurricane María. for her portrayal of the title character in Shotgun Players; The Taming (Bianca) and Mariela in the Desert, Seattle Rep, Hartford Forever Never Comes (Sandra), Crowded Fire; DAVID Stage, Long Wharf Theatre, Arena Stage, Learn To Be Latina (Blanca), Romeo and Juliet Alliance Theatre, and the Coconut Grove (Mercutio), Mutt (Various), Impact Theatre; † MENDIZÁBAL Playhouse. Film/TV credits: Chick Fight, The Mud (Mae), Tontlawald (Lona), Ondine (Mist), DIRECTOR Last Thing He Wanted, Driven, Attraction, A Dream Play (Gatekeeper), Ubu Roi (Various), (he/him) is a NY- Sex, Death and Bowling, Rabbit Hole, 27 Cutting Ball Theater; Santos and Santos based director, Dresses, Lucky You, The Oath, Startup, (Nena), Teatrovision. In Chicago, Marilet is designer, and one Nurse Jackie, Sex and the City, Law and one-fourth of the ALTA (Alliance for Latinx of the Producing Order: Criminal Intent. Member of LAByrinth Theatre Artists) award-winning, all-Latina Artistic Leaders Theater Company and The Actors Studio. improv and sketch team Ratas de Dos Patas. of the Obie Ratas has played festivals across the country Award winning ELENA ESTÉR and last year debuted their sold-out sketch show The Invocation of Selena, inspired by The Movement Theatre Company. He is YINOELLE la reina Selena Quintanilla-Perez. Marilet is also the Associate Artistic Director of The (she/her) is an ensemble member of Comedy Sportz Sol Project. Select directing credits include: absolutely thrilled Chicago. Follow her on Instagram: On The Grounds of Belonging (Long to make her Magic @mariletmartinezsf and @ratas_de_2_patas Wharf), the bandaged place (NYSAF), Theatre debut as Then They Forgot About The Rest (INTAR), Yinoelle! A native The Maturation of an Inconvenient Negro New Yorker and WILMA BONET* (Cherry Lane Mentor Project), And She hardcore salsera, MAMI Would Stand Like This, Look Upon Our she grew up (she/her) is happy Lowliness, and Bintou (The Movement), surrounded by to be back at the and Tell Hector I Miss Him (Atlantic / Drama Puerto Rican culture, music, and friends/ Magic where she League Nomination). Member of Latinx family. She credits much of her love of salsa last appeared in Theatre Commons. Alumnus of Drama to growing up listening to Nuyorican/Puerto This Golden State League, Lincoln Center Director’s Lab, Rican soneros at family parties. Elena’s Part One: Delano NALAC, & artEquity. BFA NYU/Tisch. theatrical credits include: Olivia in the TBA and Bruja, both www.davidmendizabal.com Awards-Recommended production of by Luis Alfaro. Ageless at Quantum Dragon Theatre, Carla Recently she in Custom Made Theatre’s In the Heights; appeared in Ruben Grijalva’s Anna Considers and Veronica in The Motherfucker with the Mars at Playground and in Tony Kushner’s Hat. She was also involved in promoting Mother Courage and Her Children at Ubuntu Spanish-language theatre by playing Conchita Theater. Acting credits include, Little Erik at in La Lengua Teatro en Español’s inaugural Aurora Theater, A Streetcar Named Desire production of a staged reading of Ana en el and Tanya Saracho’s The Tenth Muse, both
4 MAGICTHEATRE.ORG at the Oregon Shakespeare Festival, Luis (Lowell, MA), and Dry Powder directed by Alfaro’s Electricidad at the Mark Taper Forum Jennifer King at Aurora Theatre. Tanya received and Jose Cruz Gonzalez’s September Shoes her MFA in Scenic Design from CalArts (’17) biographies at the Denver Center Theatre Company, for and is the 2016 recipient of the Princess Grace which she received an award for outstanding Fabergé Theatre Award. Her design work on performance. She has also appeared on the Angels in America was presented in the US SONIA FERNANDEZ stages of the American Conservatory Theatre, Emerging Designers Exhibit at the Prague DRAMATURG/CASTING Campo Santo, California Shakespeare Quadrennial 2019. (she/her) is a dramaturg, casting director and Theatre, Thick Description, Marin Theatre producer, specializing in new work. She has Company, the Old Globe, and Dallas Theatre BRYNN ALMLI** dramaturged the world premieres of Reel to Center. She toured with El Teatro Campesino COSTUME DESIGN Reel by John Kolvenbach, The Eva Trilogy by and the San Francisco Mime Troupe. Film (she/her) is a Bay Area-based costume Barbara Hammond, Grandeur by Han Ong and television credits include COCO, What designer working in theater, flm, television and runboyrun by Mfoniso Udofa at Magic Dreams May Come, 8MM, Underwraps, and special events. Originally from as well as Quixote Nuevo by Octavio Solis Jack, Radio Flyer, and Nash Bridges. Awards: Minneapolis, MN, she studied English at CalShakes. She is a longtime resident Bay Area Theatre Critics Award, Los Angeles literature, sculpture and fashion design artist with Crowded Fire Theatre, where she Drama-Logue Award, and Goodman Award before earning an MFA in Design for Stage recently dramaturged Church by Young Jean for Outstanding Performance. and Film from NYU Tisch School of the Arts. Lee. As Magic’s Associate Artistic Director, Recent theater credits include The Breath Sonia produces the annual Virgin Play Festival JULIAN of Life (Portland Center Stage), Sagittarius featuring workshops and readings of new LÓPEZ- Ponderosa (NAATCO), Birdbath (Kitchen plays in development every December and Table Works), Plenty (NYU Graduate Acting), has cast the last fve seasons of plays. A PhD MORILLAS* and Alphabetical (Columbia University). She candidate at UC San Diego, Sonia’s research PAPI has assisted on productions for Broadway, focuses on audience experience of racial (he/him) has lived Hartford Stage, The Shakespeare Theatre, humor. She received an AB from Princeton and worked as The Guthrie Theater, New York Musical and Master’s from San Francisco State. an actor, director, Theatre Festival, Aspen Music Festival and and teacher in the The Williamstown Theatre Festival. SHANE SPAULDING San Francisco STAGE MANAGER Bay Area since CHRIS LUNDAHL (he/him) is very excited to be working at the 1973. His widely-spaced appearances at LIGHTING DESIGN Magic Theater for the frst time. Relatively Magic Theatre have included The Wild Goose (he/him) is a Lighting Designer based in the San new to the Bay Area, Shane most recently (1978), Jacques and His Master (1989) and Francisco Bay Area. Recent Lighting Design worked at Cutting Ball Theatre on projects The American in Me (2001). Julian was for credits include: Mother of the Maid, (Marin featuring emerging playwrights and directors. many years an actor and director with the Theatre Company), Rhinoceros (American Shane served for fve years as the Resident Berkeley Shakespeare Festival (now California Conservatory Theater), Mama Mia (Berkeley Stage Manager at Victory Gardens Theatre Shakespeare Theatre) and has also appeared Playhouse), The Daughters (San Francisco (Tony recipient for Outstanding Regional at ACT, Berkeley Rep, San Jose Rep, San Playhouse), Bright Star (Palo Alto Players), Theatre during his fnal season there). Jose Stage, and the Aurora Theatre among Kings (Shotgun Players), The Gentleman Caller Other Chicago credits: Tour Manager for many others. He has taught Shakespeare and (New Conservatory Theatre) and Transfers the Second City; Stage Manager for The dramatic literature at UC Berkeley, San Jose (Crowded Fire Theatre). Other credits include: Vagina Monologues; Production Manager State, Mills College, and elsewhere. Julian has La Serva Padrona, Savitri, The Bear (Merola and Director of Operations for the Chicago appeared professionally in every play in the Opera), Rock of Ages, The Little Mermaid, Center for the Performing Arts; and Shakespeare canon and was also a two-day Titanic, the Musical (Rocky Mountain Repertory promotions producer for WICKED. He has winner on Jeopardy! Theater). Lundahldesigns.com also worked in ‘business theater,’ as a non- proft and corporate event planner, festival TANYA ORELLANA SARA HUDDLESTON producer and tour manager for musicians, SCENIC DESIGNER SOUND DESIGNER including Bonnie “Prince” Billie. He served (she/her) designs performance spaces for (she/her) is pleased to return to Magic where as the Events and Festival Planner at Actors Theater, Dance, Opera and Puppetry. Originally she most recently designed sound for The Theatre of Louisville and more recently as an from San Francisco, she is a core member Chinese Lady. Favorite Magic credits include Artistic Associate at the Ordway Center for of the award-winning ensemble Campo In Old Age, The Gangster of Love, Reel to the Performing Arts in St. Paul, Minnesota. Santo, participating in their intimate New Work Reel, Grandeur, Fool for Love, Dogeaters, Thank you for attending live theater! Process, conceptualizing and designing sets And I And Silence, Every Five Minutes, Hir, alongside the writing process. Her design Arlington, Terminus, Se Llama Cristina, Any DAVE MAIER collaborations include the Mexico Premiere of Given Day, Mrs. Whitney, and Goldfsh. FIGHT DIRECTOR Angels in America directed by Martín Acosta Recent Bay Area sound design credits include (he/him) has choreographed violence for at Teatro Juan Ruiz de Alarcón, SAPO by Mother of the Maid, Sovereignty, and Oslo nineteen previous Magic Theatre productions Culture Clash at The Getty Villa, Casa de Spirits (Marin Theatre Company), We Swim, We Talk, including Fool For Love, Dogeaters, A Lie written and directed by Roger Guenveur Smith We Go To War (Golden Thread Productions), of the Mind and Oedipus el Rey. He is the at Yerba Buena Center for the Arts Forum Kiss (Shotgun Players), and Ripped (Z Space). resident fght director at San Francisco (San Francisco, CA), the world premiere of Opera and California Shakespeare Theatre. The Heath, by Lauren Gunderson directed by His work has been seen at many Bay Area Sean Daniels at Merrimack Repertory Theatre
ARTSLANDIA.COM 5 Speed-the-Plow, and Blackbird at American & Sutro), specializing in international and Conservatory Theater; Life is a Dream at tax law, and served for many years as the biographies California Shakespeare; Romeo and Juliet and managing partner of the frm’s tax practice. Stop Kiss at Oregon Shakespeare Festival; She also served as a member of Pillsbury’s and productions for McCarter Theatre, governing executive committee. Now, a theatres including Berkeley Rep, A.C.T., Marin South Coast Repertory, Long Wharf, La Jolla retired partner at the Pillsbury frm, she is Theatre Company, Ubuntu Theatre Project Playhouse, Intiman Theatre, Williamstown, President of the van Loben Sels/Rembe and Shotgun Players. He is recognized as Coconut Grove Playhouse, Repertory Rock Foundation, a private foundation a Master Fight Director with Dueling Arts Theatre of St Louis, Cincinnati Playhouse, focusing in the area of public interest law, International and has won several awards for and Playmakers Rep, among many others. and a board member of the Immigrant Legal his work including a sweep of all three tiers Ms. Greco directed the National Tour of Resource Center. She is a co-founder and of the 2019 Theatre Bay Area Awards for Emily Mann’s Having Our Say, as well as the member of the board of the Rock Center Outstanding Fight Choreography. international premiere at the Market Theatre in for Corporate Governance at Stanford Johannesburg, South Africa. University. Toni formerly served on the boards of AT&T, Potlatch, Transamerica, LORETTA GRECO Of stage, Ms. Greco is dedicated to the Bay Pacifc Telesis, Safeco, APL Ltd., and ARTISTIC DIRECTOR Area community and developing the next AEGON N.V. (a Dutch company). She is a is celebrating her twelfth and fnal season as generation of theater leaders through Making member of the advisory board and a past Magic Theatre’s sixth Artistic Director. Ms. Magic: Arts and Community, which includes chair of the American Conservatory Theatre, Greco is proud to have developed, premiered, a decade-long robust cross-curricular and past president of the Commonwealth and championed the country’s most partnership with Oakland’s Laney College, Club of California. She is also a member of innovating and cutting-edge writers, including a season-long competitive professional Theatre Communications Group’s National Taylor Mac, Mfoniso Udofa, Lloyd Suh, Luis apprenticeship program now in its twelfth Council for the American Theatre. Alfaro, John Kolvenbach, Jessica Hagedorn, year, and multi-generational residencies Linda McLean, Han Ong, and Octavio Solis. throughout San Francisco’s underserved Under her watch, twenty of the twenty-six Tenderloin neighborhood focusing on legacy, JOHN F. MARX & NIKKI BEACH world premieres produced here have gone literacy, and performance, now in its third SEASON PRODUCERS on to have between two and seventy-one year. Free Magic matinee performances Began coming to Magic in 1981 and have productions each throughout the country can be seen at both Laney College and the enjoyed its intensity and independence ever and beyond. Magic directing credits include Tenderloin Museum. With the generosity of since. John joined the Magic Theatre board the world premieres of Barbara Hammond’s developer Group i, Ms. Greco has acquired an in 2009. In 1999, John co-founded Form4 Eva Trilogy, Ong’s Grandeur, Hagedorn’s additional fexible theater space for Magic to Architecture, a SF-based frm that produces Gangster of Love, Sharr White’s Annapurna, further serve the community due to open as award-winning architecture ranging from a and Octavio Solis’s Se Llama Cristina. She has part of 950-974 Market in July 2021. 2,000-square-foot penthouse in SF to a 4 also reimagined west coast premieres such million-square-foot IT campus in Pune, India. Prior to her Magic post, Greco served as as Sharr White’s The Other Place, Liz Dufy Other projects include the headquarters for Producing Artistic Director of New York’s Adams’ Or, and Theresa Rebeck’s Mauritius, Netfix, nVidia, and Vmware. A monograph of The Women’s Project, where she was proud among many others. John’s work, entitled Wandering the Garden to help launch the careers of Liesl Tommy, of Technology and Passion, was published At Magic, Greco is grateful for her Anne Kaufman, Lisa D’Amour, and Annie by Balcony Press. Nikki Beach makes model longstanding collaborations with playwrights Dorsen, and as the Associate Director/ trees for architects worldwide. John and Sam Shepard, Luis Alfaro and Taylor Mac. Resident Producer at the McCarter Theatre in Nikki are honored to have been producers Greco worked closely with Shepard on Princeton. She received her MFA from Catholic of Tir na nOg, Mauritius, Oedipus el Rey, Magic’s fve-year Bay Area Sheparding University, her BA from Loyola University, New The Lily’s Revenge, Bruja, Se Llama Cristina, America series and directed the critically Orleans. She is the recipient of Bay Area Critic’s and Buried Child. They fnd the behind-the- acclaimed legacy revivals of Buried Child and Association Awards, two Drama League scenes access and relationships they have Fool for Love. She developed and directed Fellowships, a Princess Grace Award, a formed from producing to be unforgettable. the world premieres of Alfaro’s Oedipus el Sundance/Luma Director’s fellowship, and the Rey, Bruja, and This Golden State: Delano. 2018 Zelda Fichandler Award. She produced Taylor Mac’s fve-hour The CLAY FOUNDATION WEST Lily’s Revenge, the world premiere of Hir, and SEASON PRODUCER Associate Produced the West Coast premiere PRODUCERS Is a small charitable foundation that (with Curran, Pomegranate Arts, and Stanford provides grants to a variety of organizations Live) A 24-Decade History of Popular Music. TONI REMBE ROCK that work to enrich the lives of those in She has commissioned and will direct Mac’s their communities, particularly theaters. SEASON PRODUCER Its President, Bufngton Clay Miller, has upcoming premiere, JOY, for 2021. Toni Rembe grew up in Seattle, and did attended Magic Theatre productions for a her undergraduate work at the University of Her New York directing credits include the number of years and appreciates the ability Washington and the University of Geneva premieres of: runboyrun and A Park in Our of terrifc actors, directors, set designers, in Switzerland. After receiving a law degree House at New York Theatre Workshop; The and all to bring plays to life on the stage from the University of Washington and a Story, Lackawanna Blues, and Two Sisters and engage their audiences. She has in the master’s degree in taxation at New York and a Piano at The Public Theater; Meshugah past served on the Boards of Directors of University School of Law, she joined the law at Naked Angels: Mercy at The Vineyard; several theaters, an art museum, and several frm of Chadbourne & Parke in New York. In Under a Western Sky at INTAR; and Victoria educational institutions, utilizing her business 1964 she returned to the West Coast and Martin Math Team Queen, Touch, and Gum skills in fnancial management, strategic joined the law frm of Pillsbury Winthrop at Women’s Project. Her regional directing planning, and business development. credits include; Sweat, The Realistic Joneses, Shaw Pittman (formerly Pillsbury, Madison
6 MAGICTHEATRE.ORG LARRY GOLDFARB THE SOL PROJECT SEASON PRODUCER Launched in 2016, The Sol Project is a biographies Larry is a Boston native. He was educated at national theater initiative dedicated to Northeastern University and Brown University producing the work of Latinx playwrights in Graduate School. He relocated to the Bay New York City and beyond. Guided by the altering the shape of American drama. Paula Area from Providence, Rhode Island in 1966. values of joy, rigor and generosity, The Sol Vogel, Soon 3, Athol Fugard, Mark O’Rowe, He worked for Stanford Research Institute and Project works in partnership with leading Nilo Cruz, Octavio Solis, Claire Chafee, Jon DiGiorgio in San Francisco. In 1974 he worked theaters around the country to amplify Latinx Robin Baitz, Anne Bogart, Stephen Belber, as an Information Technology headhunter. In voices and build artistic homes for artists of Basil Twist, Rebecca Gilman, and many others 1983 he co-founded GW Consulting, a frm color. Through the writers we champion, The also called Magic home through the 1990s that marketed contract information technology Sol Project aspires to create a bold, powerful, and 2000s. personnel. He sold the company in 1995 and and kaleidoscopic body of work for the new retired to Paris and London. Larry was on American theater. www.solproject.org Since Loretta Greco assumed leadership the Magic Board from 1977 to 1993 and is 2008, 21 of Magic’s 26 most recent world presently on the Board again. NATIONAL NEW PLAY NETWORK premieres have received between 2 and 72 subsequent productions throughout the United National New Play Network is an alliance KATHRYN KERSEY States and beyond – in Chicago, Los Angeles, of professional theaters that collaborate SEASON PRODUCER Washington, DC, Ashland, Seattle, Portland, in innovative ways to develop, produce, Kathryn is Co-Chair of the Magic Theatre Tucson, Minneapolis, Williamstown, Nashville, and extend the life of new plays. Since its Board of Trustees. Her love of the arts began Boulder, and San Diego as well as Winnipeg, founding in 1998, NNPN has supported more as a child in Toronto, going to the Shaw and Vancouver, Edmonton, London, and Sydney, than 250 productions nationwide through Stratford Festivals and later to the symphony, and in translation in Seoul and Manila. In New its innovative National New Play Network opera, ballet and of course, theatre in York City alone, Magic premieres from the past Rolling World Premiere program, which Toronto. She was thrilled to discover the bold decade have gone to The New Group, The provides playwright and production support new plays at the Magic Theatre and feels Vineyard, Ma-Yi, INTAR, The Play Company, for new works at its 125 Member theaters. privileged to be able to gain greater insight Playwrights Horizons, and The Public Theater. NNPN also strives to pioneer, implement, into how the Magic nourishes playwrights, and disseminate ideas and programs that Magic remains a national leader in new play the development of plays and how they are revolutionize the way theaters collaborate to development through Greco’s commitment brought to life on the stage. Kathryn has been support new plays and playwrights. Its most to a core group of writers as they build their involved in clinical drug development for 30 recent project, the New Play Exchange, is groundbreaking bodies of work. These writers years and currently works in Liver Disease changing the way playwrights share their currently include Lloyd Suh, Taylor Mac, Linda Clinical Research at Gilead Sciences. work and others discover it by providing McLean, Jessica Hagedorn, John Kolvenbach, immediate access to information on more Sharr White, Christina Anderson, Joshua MIKE AND LEA ANN FLEMING than 30,000 new plays by living writers. Harmon, Mfoniso Udofa, Barbara Hammond, SEASON PRODUCERS and Luis Alfaro. Mike and Lea Ann are delighted to produce this new play by Ricardo Pérez González. MAGIC THEATRE Magic plays have received numerous honors, They have been subscribers and Magic including the Pulitzer Prize, Obie Awards, audience members since 1980. Mike served Magic Theatre is dedicated to the cultivation of Kennedy Center Awards, PEN-West Awards on the Board from 2010—2016. They love the bold new plays, playwrights, and audiences – for Drama, Glickman Awards, Bay Area Critics intimate and risky new plays that have always and to producing explosive, entertaining, and Circle Awards, Los Angeles Drama-Logue been the signature of the theatre, watching ideologically-robust plays that ask substantive Awards, and NAACP Image Awards. Magic many spread from their birth here to theaters questions about, and refect the rich diversity playwrights have gone on to be recognized across the country and beyond. Because of of, the world in which we live. For 53 years, with MacArthur Genius Grants, Tony Awards, Magic, we have had the privilege of meeting Magic’s belief in supporting the writer’s vision Outer Critics Circle Awards, the Herb Alpert many wonderful playwrights including Luis has manifested in a rigorous artistic home Award, Drama Desk Awards, Harper Lee Alfaro, Linda McLean (Any Given Day), John where a full body of work can be imagined, Awards, Academy Awards, New York Drama Kolvenbach (Goldfsh, Mrs. Whitney), Tarell developed, and produced. By adding Critics Circle Awards, Drama League Awards, Alvin McCraney (Brothers Size) and Sam innovative, challenging new voices to the Guggenheim Fellowships, Rockefeller Grants, Shepard. They have proudly produced a canon, Magic ensures the future vibrancy of the NEA Grants, Alfred Jarry Awards, and number of wonderful plays including Taylor American theatre. many more. Mac’s The Lily’s Revenge and Lloyd Suh’s Since the company’s founding in 1967 by Beyond the walls of our San Francisco Jesus in India and we look forward to enjoying visionary John Lion, Magic has identifed performance space, Magic conducts a many more new works in the new decade. and cultivated writers on the cutting edge of robust educational program, Making Magic: American theatre, serving as a vital center for Arts and Community. A cornerstone of the VALERIE BARTH the creation and performance of new American program is Magic’s more-than-decade-long PRODUCER plays. The hiring of scholar Martin Esslin as the partnership with Oakland’s Laney College, Valerie Barth is an avid fan of live theater, frst resident dramaturg at an American theatre which establishes a bridge between the college both classical and contemporary. She company had a resounding impact on the feld. theater curriculum and professional theater particularly enjoys supporting new theatrical Beat poet-playwright Michael McClure created practice: Laney students attend designer voices, and playwrights of color. Valerie is a 22 works for Magic. Sam Shepard developed presentations, rehearsals, and peformances former public school teacher, school librarian, and premiered his Pulitzer Prize-winning Buried at Magic, and Magic playwrights and directors and book editor. She currently serves on the Child, True West, and Fool for Love during his visit Laney classrooms to discuss play content board of the California Shakespeare Theater. decade-long Magic residency (1974-84), forever and production. Each Magic production is
ARTSLANDIA.COM 7 centers around mindfulness, self-esteem, recently received his bachelor of arts in legacy, literacy, writing, and performance. Applied Playwriting from the University of biographies More recently, Magic has added community Redlands. Recent playwriting credits include performances of both main stage productions Flat Fish (NYC Fresh Grind Festival), Zap and additional plays in San Francisco’s (Lounge Theatre), Bonkers for Bonkers presented at a free matinee performance Tenderloin neighborhood, at Exit Theatre and (NYC Gay Pride Plays), The Undocumented at Laney that is open to the community. the Tenderloin Museum, expanding access to (Manhattan Repertory Theatre), and Small Since 2018, Making Magic has also worked Magic’s artistic programming. Minds (The Worms). in partnership with Tenderloin Elementary School, Southeast Asian Development Center, Code Tenderloin, Antonia Manor, SEASON APPRENTICES KYLIE JOERGER and Tenderloin Neighborhood Development ARTISTIC APPRENTICE Corporation, extending the program’s SEAN DUNNINGTON (ASSISTANT DIRECTOR) reach to engage underserved community (she/her) recently graduated from Santa LITERARY APPRENTICE members of all ages with curriculum that Clara University with a degree in Theatre Arts (he/him) from the Big Island of Hawaiʻi, and a focus in Directing. Recent directing credits: A Kind of Alaska (Fess Parker Studio Theatre), world premiere of The Night the Fireworks Happened (Fess Parker Studio Theatre) and asst. director of Legally Blonde (Louis B. Mayor Theatre). HANNAH MEYER LITERARY APPRENTICE (PRODUCTION ASSISTANT) (she/her) recently graduated with a BA in Theatre and English from Muhlenberg College. Recent dramaturgy credits: Cabaret (SF Playhouse), Mr. Burns, a post electric play, Passion Play, and Ubu Roi (Muhlenberg College). Recent directing credits: Sam Shepard’s Red Cross (Muhlenberg College) and Face Forward (Jewish and Christian Institute of Understanding). Hannah will be the dramaturg for The Revolutionists (Human Race Theatre Company) and assistant director of Escaped Alone at Magic Theatre. She has previously interned at Playwrights Foundation and SF Playhouse. HUNTER NELSON LITERARY APPRENTICE NEW CONSERVATORY THEATRE CENTER (ASSISTANT DRAMATURG) (he/him) is a dramaturg from Topeka, Kansas. Recent credits: Bernhardt/Hamlet, Apologia, Usual Girls (Roundabout Theatre Company), world premiere of 21st Century Carnival (KSU), Straight White Men (KSU), WORLD Mar 6–Apr 5, 2020 and Candide (KU). He is a reader for Kitchen PREMIERE Dog Theatre, Unicorn Theatre, and Campfre YILONG LIU BECCA WOLFF By Directed by Theatre Festival. hunternelson.org
*Member of Actors’ Equity Association. AEA, founded in 1913, represents more than 45,000 actors and stage managers in the United States. Equity seeks to advance, promote and foster the art of live theatre as an essential component of our society. Equity negotiates wages and working conditions, providing a wide range of benefts, including health and pension plans. AEA is a member of the AFL-CIO, and is afliated with FIA, an international organization of performance arts unions. The Equity emblem is our mark of excellence. www.actorsequity.org. + Member of Stage Directors and Choreographers (SDC) ** Member of United Scenic Artists local 829. United Scenic Artists BUY TICKETS AT NCTCSF.ORG In partnership with represents the designers BOX OFFICE: 415.861.8972 and scenic painters for 25 VAN NESS AVE AT MARKET ST the American theatre.
8 MAGICTHEATRE.ORG dramaturgy
a conversation with RICARDO PÉREZ GONZÁLEZ
Ricardo sat down for a conversation with dramaturg Sonia Fernandez via FaceTime one morning before rehearsal to discuss his writing, cyclopes, and the status of Puerto Rico.
Sonia Fernandez: How did you get started SF: I imagine you as a kid scribbling stories. little macabre kid. I was always a strong writing Don’t Eat the Mangos. academic writer and I loved writing skits for RPG: YES! Have I told you that story?! As English class like pastiches. I decided to Ricardo Peréz González: I wrote the frst a brown boy growing up in Nebraska and pursue acting in college, and I was talking scene of this play seven years ago. I was Virginia, I used to write stories based on about my writing and how much I loved it inspired by conversations I’d had with some Greek mythology. I still know so many of the and I remember somebody saying “Hey. Puerto Rican friends about a legacy of trauma myths. And what was interesting about the Keep you frst passion as a hobby and your in their families and it hit me that that was the stories I would write is that I would always second passion as a job.” So that your frst story of my family. That there has been this write them from the point of view of the passion can always be — legacy of abuse. My mother was very physically monster or the outcast. and emotionally abusive and I remember SF: A passion. So, you know, there was Odysseus and stories she would tell about the things that Odysseus killed the Cyclops, Polyphemus. happened in her family and to her mami RPG: You can always love it. And I I wrote this story about this lonely cyclops and it always felt like we were just recycling remember thinking “Oh, well, I always have who’d had everything taken from him and the same abuse. There was one particular my writing. And that will always be my frst who was in the land of humans and needed bisabuela whose story is similar to the one in passion, my frst love. And I’ll keep it safe in to fnd his way home. So he built a raft to get the play. And that stuck with me all my life. That a box and it will be there and I’ll go out and back home to the land of the cyclopes and story has always been a part of my personal be an actor.” I just couldn’t keep it in a box, that was one of the frst stories I ever wrote. mythology—the landscape of my nightmares. I guess! Anyhow, the frst scene of the play just came SF: Did he make it? SF: Has it changed your relationship to fully formed—it hasn’t changed that much. It your writing? RPG: He made it. There was even a little feels like it was born out of some fever rage picture of him going in, because I illustrated dream. It served as a springboard. It told RPG: Yes and no. In some ways, when it it, him on his raft sailing into the sun to the me who these women were. Who this family fows, it fows in the way it did when I was island with the other cyclopes waiting for was. I wrote it and it stayed in my drawer— a kid. Honestly. This is the story I want to him. He made it home. So I’ve always loved my metaphorical drawer, a folder on my tell, this is why I want to tell it, it’s clear, it’s writing stories. I once made my father a desktop—for years. Polyphemus all over again. The story of birthday set of poems called Ricky’s Poems the Cyclops comes to me again and again Then, two and a half years ago, Jacob of Absolute Death. I always had a macabre and again in various forms. I can see that Padron at the Sol Project asked me if I had sense of humor. character in all of my plays in some ways, In any stories I was interested in telling. I had some ways, that’s Ismelda. been writing a lot of plays about people who SF: Did your father like it? weren’t like me or my family and I thought, SF: I wanted to ask you about your RPG: He loved it. He laughed so hard. The well you know what, maybe it’s time to do relationship to Puerto Rico. You were born in frst poem was like how you’re turning 42 and this, and I pitched it to the Sol Project with the Midwest, right? the reaper is coming for you. David and they said—“do whatever you want.” RPG: Yeah. So, I was born in a little trailer And I wrote this misshapen 50-page draft that SF: That is hilarious. we did a little workshop on, and we got to do park in Ames, Iowa. My father was, he’s a reading of it, and it became this 90-minute RPG: I drew a grim reaper on the cover retired now, an engineer with Federal Highway proper play. It launched from there. and bedazzled it. Wow, I was a weird gay Administration, so we moved around a lot.
ARTSLANDIA.COM 9 10 MAGICTHEATRE.ORG The island has been traumatized. And yet there is still a sense of moving forward and continuing— of fighting and struggling.” —Ricardo Pérez González
200 Year Old Mango Tree. Photo by Chris Hunkeler
ARTSLANDIA.COM 11 could use us for cannon fodder. There is a that the Puerto Rican people will continue to misconception, “what a great gift the U.S. speak out, speak up for ourselves, because dramaturgy gave Puerto Rico.” It’s not a gift; it was part of we deserve more. It is important that people a colonial plan to use us as human resources know that there’s still an exploitative colonial in foreign wars. It really sets a precedent for relationship going on and that it has to how we’ve always been treated by the U.S. change. As Mami says in the play, “I am not Both of my parents are from San Juan. My and is also an example of how we’re still a pro-independence, I’m not pro-statehood, I father is from El Comandante. The house in colony. Because a colonial relationship is all am pro-Puerto Rico. I want what is best for mi Don’t Eat the Mangos is based on my father’s about extracting resources from one place isla, for my island.” I feel that! house growing up. To be clear, the house is for the beneft of the other. from my father’s side but the trauma is from SF: I know the play has no direct reference my mother’s side. We would visit Puerto Rico There’s also this complaint, “Puerto Ricans to Three Sisters by Chekhov, but the stakes in the summers. My abuelo was paralyzed in don’t pay income taxes!” First of we can’t of staying or going, in this case, to the U.S. a wheelchair but there was still a very strict vote for president or representatives, so mainland is also at play in Chekhov with the hierarchy, a strict patriarchy, in his household. that whole “we are a nation founded on no idea of Moscow. Given the recent natural He didn’t commit the crimes in the play, but he taxation without representation,” doesn’t disasters, there are larger waves of people did inspire this patriarchal fgure who rules his seem to apply to the island. Also, Puerto leaving Puerto Rico. So I’m just wondering if home despite his failing health. Ricans pay plenty of other types of taxes and you could talk a little bit about what it means have to pay into the federal system in a lot of to leave or to stay and the movement of SF: So you’d go every summer? diferent ways. “No me quito.” There’s a law still on the books that doesn’t RPG: Up until I was about 10, and then we RPG: Yeah, it’s 100% in the play. And it’s allow us to trade with other nations. We stopped. I think there were some fnancial interesting for me, as a child of the diaspora, can’t negotiate or trade with our nearest problems and we couldn’t aford to go. It was because I never lived in Puerto Rico. There neighbors. We are forced to have everything also about that time we moved to California will be Puerto Ricans who look at me as a come in under the banner of the U.S., so and it was a farther journey. So there was a gringo, as a mainlander. My primo, my cousin even the simplest things have to be shipped period of like 10 years where I didn’t go, and who’s on the island, talks about us being to the mainland then shipped to Puerto Rico. then I decided, as an adult, to go back. There the lost children, the stolen children of the That just makes things way more expensive. is so much of my family and my life in this diaspora because of the various pressures This convoluted means of getting things in play it’s ridiculous. This is really… to leave the island our families sufered. and out has infantilized our own production The economy has always been one of the SF: Close to home of goods, our own production of food, our pressures there and that was why my father own economy. left, why so many others have left. We are the The U.S. has many other stories that we have children of that. We were born into this kind all heard, the “mythology of our greatness”— of broken system. I was raised in the U.S. and there’s truth to that. There are lovely as a result of that. Diasporic movements are There are so many ways that my things the U.S. has accomplished. What rarely by choice. we tend to forget sometimes is that many Another conversation I had in Puerto Rico family in Puerto Rico makes its of those accomplishments were achieved with a gentleman I was dating at the time. as a result of slave labor, as a result of way into this play.” He was in Puerto Rico, I was in New York, colonial imperialism, on the backs of Black and we were trying to see if things could people, on the backs of Puerto Ricans and work out. He said, “Well, you’re never going indigenous folx. Also Black folk, Puerto to live in Puerto Rico and I’m never going to RPG: Yeah. There are so many ways that Ricans, indigenous folks are part of the story live in New York.” He’s a theatre artist and I my family in Puerto Rico makes its way into of U.S. greatness, not always in a negative said, “Well, there’s work for you in New York this play. I fnished writing Mangos under a way, not always in an exploitative way. I don’t and things are really difcult in Puerto Rico famboyan tree at the library of la IUPI. It’s want to only tell that story because then but you can always come back,” and he of the island. Those women’s stories were we’re just kind of locked into— told to me on the island. In many ways, the said, “Well, you know things are hard here, story of the play is a metaphor for the island. SF: Victimhood. things are difcult. And I don’t know how to This colonial relationship, this paternalistic make things better. But I do know you don’t RPG: of seeing ourselves in history that way, relationship that the U.S. has with Puerto Rico. make them better by leaving.” And I put the right. And that’s something that’s important This frankly abusive, paternalistic relationship. line right in the play with his blessing. That’s for me even with the characters in the play. always stuck with me. Shit has happened. The island has been SF: Americans on the mainland don’t really There are children of the diaspora who have traumatized. And yet there is still a sense of know much about Puerto Rico besides what very intentionally gone back. And others moving forward and continuing—of fghting the press covers, which is primarily natural who go back because our parents followed and struggling. In Puerto Rico right now disasters. Our view of Puerto Rico is skewed the resources that had been extracted from we are seeing all of these young folks who and incomplete. What should we know about Puerto Rico and used them to raise us and are like “No! You’re not going to defund our Puerto Rico? we feel it is incumbent upon us to take those universities. You’re not going to take this resources back to our home. I haven’t made RPG: There are so many silly money, spend it on God knows what, and a move to Puerto Rico yet but I try to spend misconceptions. First of, we are U.S. citizens then say we owe it to you”. There are all of as much time as I can there. Part of me by birth. We were made U.S. citizens in these movements coming up in Puerto Rico writing about Puerto Rico is trying to take 1917. And the reason was so that we could and we see that with the ousting of Ricky.1 I those resources back. I also have a TV pilot fght in U.S. wars, we could be drafted, they only hope that its a preview of things to come,
12 MAGICTHEATRE.ORG dramaturgy
given how expensive it is to house artists, but I couldn’t be more thrilled or grateful. As far as TV goes, it’s also been a blessing because I got to write on Designated Survivor under the amazing Neal Baer who’s a wonderful show runner and writer.” He wrote on ER; for years he was the showrunner of Law and Order: SVU. He has this legacy and this great knowledge of writing for television, so I got to learn from him. And he’s so political. Writing on Designated Survivor, I got to introduce a Puerto Rican character. We were pitching in the room and talking about this character and maybe she’s more of an activist. And I said, “What if we made her Puerto Rican” and people were like “Oh yeah! Why not?” I’ve gotten letters from Puerto Rico thanking me. Like two, but still. I’m developing about Puerto Rico. I have SF: It’s refreshing. When we frst reached People got to see that and there aren’t that other work I’m trying to set on the island to out to you in 2018 to come for our Virgin Play many Puerto Rican characters on television. literally create work there and also just to get Festival, you had just started writing for TV. So it allows me to see the power and the focus and attention on this place beyond I’m wondering how that has afected your infuence writing for television afords one Hurricane María and the recent earthquakes. writing. How do those two types of writing and the way that you can open doors with it. work together? Or do they? I got to talk about Puerto Rico in this political There is this tension on the island of “do I White House show stay or do I go,” For those who have made RPG: I feel that playwriting and screenwriting the move, there is this sense of loss. You go hand-in-hand in some ways. You’re SF: I wanted to ask about your work in general hear it in our music, “yo no me quedo, me writing a whole bunch of dialogue in either and the stories you’re drawn to. The play that 2 voy para Borinquén.” So many of our salsas case. It’s started to attune my ears to you just had produced at Long Wharf, On the are about returning to the island. You actually when I write too much. In TV you don’t get Grounds of Belonging, is part of a trilogy you’re can never really go back. It’s not going to many monologues. You get little snippets writing about an interracial gay couple over be the same, it’s not the Puerto Rico you of dialogue that really have to say a whole decades, and several of your other plays are created in your head when you were away. lot. Mangos was actually the frst play that focused on queer stories, on people of color. And that’s something I would talk to my refects that shift in my writing. How do you feel Don’t Eat the Mangos fts father about. At one point he said, “I don’t within or contributes to your oeuvre. think I can go back because it’s just not what As a playwright, you’re given a lot of deference it was,” and so he lost his island in a way. in the room. You create the world. At the RPG: My oeuvre…[laughing]. It fts in a It’s a place of nostalgia. same time, my favorite thing is being in a beautiful way in terms of my trajectory as a rehearsal process and hearing diferent playwright and also in terms of thematics. SF: Being a visitor is very diferent. You don’t ideas and exploring. That’s my favorite I began writing things that were very far away necessarily have to deal with the reality of part of playwriting. And that’s like TV all the from me. living in a place. time—in a good writers room, you’re together and everyone is on the same page. You’re SF: The World War One play RPG: We were talking about what would creating. Of course, that can go hideously be best for Puerto Rico, statehood or awry if it’s being run by people who don’t RPG: And cyclopes. I always thought writing independence, and there’s a piece of me that share your values, but I got really lucky with about yourself was self-indulgent. And I’m feels I have no right to an opinion in that debate my frst room. It was such a collaborative glad I waited 10 years to mature as a writer because I don’t live in Puerto Rico, but I don’t room and we told good stories and everybody to write this play because I was able to do it think that’s 100% accurate, I think I actually was a phenomenal writer. TV writing also in a way that doesn’t feel self-indulgent. I’m have a responsibility to engage in that debate allows me the fexibility to be here. fnally able to write Puerto Rican stories. For and to leverage my power as somebody who me, Mangos is an entree into what I call my is in the U.S. on behalf of Puerto Rico. The SF: And you’re going to be with us for the Puerto Rican plays. They deal more with my entire diaspora has that responsibility and if whole process… people, my family, my stories. In terms of we banded together we could make some trajectory, all of the other plays I wrote were changes. That’s another reason why I love RPG: Exactly. I’m able to be in residency, preparing me to write this one. That’s not to Alexandra Ocasio Cortez, because she’s a which is ideal for a world premiere. The fact say they’re lesser plays. But they allowed me Puerto Rican who knows what’s up and she’s that Magic is able to make that happen is a to see that I can write about these themes wielding power in a way that we haven’t seen in testament to their commitment to the work. It’s no easy undertaking in San Francisco awhile and I think that’s really important. CONTINUED ON PAGE 16
ARTSLANDIA.COM 13 SELECTED SPANISH WORDS TERMS AND OTHER PLAYS AND PHRASES REFERENCES
BY RICARDO A MÍ, PLIN Bomba: Afro-Caribbean rhythm I don’t care played on drums guided by the feet of a dancer; popular dance in PÉREZ GONZÁLEZ BENDICIÓN Puerto Rico. Literally translates as “blessing,” a Puerto Rican greeting signifying love Boricua/Borinquén: The Taíno name and respect for Puerto Rico/Puerto Ricans, still ASHÉ used colloquially. CÁLMATE Calm yourself Eartha Kitt: (1927-2008) A legendary ON THE GROUNDS American stage and screen star COÑO known for her sultry voice; dubbed OF BELONGING Very common as a fairly mild by Orson Welles “the most exciting expletive, equivalent to “damn” woman alive”. ESTADISTA THE MORE THEY STAY El coquí: small frogs native to the Proponent of statehood forests of Puerto Rico, symbolic of HIJA DE LA Puerto Rico. THE REFUGE OF GRANDÍSIMA PERRA Hurricane Maria: A strong category Daughter of the biggest bitch THE DAMNED 4 hurricane that made landfall in HIJO DE PUTA Puerto Rico at approximately 6:15 am, Son of a whore September 20, 2017. Left Puerto Rico IN FIELDS WHERE without power, an estimated death toll THEY LAY LA IUPI of over 3,000, and widely considered University of Puerto Rico the worst natural disaster in recorded history to strike the island. ‘MANA INSIDE OUT Sister, short for hermana Plena: Dance style popular in Puerto Rico; an even quicker pace than the ME ENTIENDES bomba, often danced with a partner, LA CASA DE OCASO You understand me with emphasis on the lyrics MIERDA and melody. Shit R.A.C.K. PROMESA: Controversial set of TE TOCA A TI economic reforms, including a It’s your turn Congress-appointed seven-member NEON BABY Fiscal Control Board, imposed TIENES LOS OJOS EN LAS NALGAS on Puerto Rico by the Obama You have your eyes in your ass administration in 2016 to restructure NAME & BLAME, INC. URBANIZACIÓN the island’s debt. Neighborhood Scotiabank en Puerto Rice (or THE JUDGMENT Scotia): an international bank with twenty branches throughout OF ATHENA Puerto Rico.
Taíno: indigenous people of Puerto Rico, descended from the Arawak Indians, devastated by disease and exploitation from European settlers. Dramaturgy Sources: britannica.com; “Carolina, Puerto Rico” by David Broad; census.gov; discoverpuertorico. Vieques: an offshore municipality of SCREENPLAYS com; “El Yunque National Forest, Puerto Rico” by Thomas Shahan; forbes.com; “González Giusti Ave. in Guaynabo’s Puerto Rico (east of the main island), CBD” by Wiki user Madrican; Hinojosa, Jennifer and Edwin home to the famous bioluminescent Meléndez. “The Housing Crisis in Puerto Rico and the Mosquito Bay. THE TENDER PEEL Impact of Hurricane Maria.” Centro Center for Puerto Rican Studies, Hunter CUNY. June 2018; “Is There A Revolution Yanqui: (literally the yankee) a person Brewing In Puerto Rico? | Foreign Correspondent.” ABC News In-depth. YouTube. 23 July 2018; “Isla Verde Beach, from the United States. LOSSES AND GAINS Puerto Rico,” 2005; npr.org; “One of the beautiful streets in the national historic district of Old San Juan, Puerto Rico,” Yemaya: a Yoruban deity whose name by Jim Grossman, 2013; “Puerto Rico’s mental health means “Mother whose children are crisis a consequence of Hurricane Maria.” CBC News: The THE REST OF US National. YouTube. 17 September 2018; washingtonpost. the fish”. com; weather.gov; vox.com
14 MAGICTHEATRE.ORG POR LA FUERZA WHATdramaturgy DOES IT THE U.S.-PUERTO RICO RELATIONSHIP MEAN TO BE A U.S. TERRITORY? The island has faced economic crises, exacerbated by restrictive U.S. policies, for years. In 2006, U.S. Congress ended special “The story that we’ve been tax breaks that were bolstering the island’s economy. Bondholders continued to extend In 1917, Puerto Rico ofcially passed from [generation] credit to Puerto Rico with little chance of became a territory and its citizens to generation is, ‘America recouping funds into the 2010s and yet, were granted U.S. citizenship Puerto Rico cannot fle for bankruptcy. (making them eligible for the draft is gonna protect us, is Additionally, record numbers of Puerto desperately needed for World War I). Ricans were leaving the island even before The fve inhabited U.S. territories gonna provide [for us]... Hurricane Maria in September 2017. With are Puerto Rico, American Samoa, those numbers increasing every year (4.4% Guam, the Northern Mariana when it matters, they can of the island’s population fed from 2017 Islands, and the U.S. Virgin Islands. to 2018), the island is losing its taxpayers, defend us.’ And when it making it harder to fll yearly budget defcits, let alone pay back bondholders or rebuild mattered, they couldn’t get after hurricanes and earthquakes that struck As a U.S. territory, Puerto Rico and people here.” the island in January 2020. While most Puerto its citizens: Ricans who stay on the island understand the • are under U.S. sovereignty with — Christine Nieves, Puerto Rican activist and desire to leave, many fear a continued exodus some degree of self-rule. community organizer will jeopardize the island’s future. • can travel to the U.S. without Aid from FEMA, which was slow to be a passport. released after Maria, is restricted to rebuilding infrastructure only, not improving it, so the • have no voting representative in Colonialism has plagued Puerto Rico (literally electric grid was especially vulnerable by the U.S. Congress. “Rich Port”) since long before Spain ceded the time of the earthquakes. The cost of its four centuries-long control of the island living on the island remains high, partially as • cannot vote for the President of to the United States as part of the Treaty of a result of the Jones Act of 1917, requiring the United States. Paris in 1898. An exploitative relationship trade between U.S. ports to be handled • have a local constitution, though between the European conquistadors with American-built ships and operated it does not change the status and the indigenous Taíno people began by American crews, increasing the cost of of their relationship with the U.S. immediately after Christopher Columbus foreign-originating goods. Harsh austerity politically, socially, or “discovered” the island on his second voyage measures aimed at mismanagement of economically. to the New World in 1493, mistaking it for government funds, which many Puerto China. In 1517, with the Taíno population Ricans see as stifing the opportunity for • receives less Medicaid funding dramatically reduced due to slavery and an economic growth and contributing to fight, than it would if it were a U.S. infux of European diseases, the Spanish were placed on the island after Maria. state, and P.R. Medicare Crown authorized the importation of African Foreclosure rates are high, living conditions providers receive reimbursements slaves to Puerto Rico. Over time, U.S. for many are poor, and communities are at lower than the state rate, ofcials began to consider the economic battling severe disinvestment. Among the though its benefciaries pay at the opportunities aforded by Puerto Rico’s counties with the most vacant housing units: full rate. tropical climate and lush geography, and San Juan and Carolina. From 2009 to 2017, production of agricultural exports like cofee, median home value had decreased 16%; • are not usually required to fle sugar, and tobacco increased. home values in Carolina, where González federal income taxes unless has set this play, plummeted another 18% they are employed by the federal In 1900, shortly after gaining control of from 2016 to 2018. Mental health issues, government or earn income Puerto Rico in the Spanish-American War, too, cannot be ignored: less than a year after outside of Puerto Rico. U.S. Congress set forth a new democratic Maria, the suicide rate on the island spiked to government on the island: a House of • do pay payroll taxes, social 30% higher than the year before Maria. Representatives, elected by Puerto Ricans, security taxes, business taxes and a Senate and Governor appointed by the There is a rising chorus of voices on both and estate taxes. United States. The U.S. Congress, however, sides calling for change, founded upon the maintains power over the P.R. Congress. belief that Puerto Rico—a thriving home of culture, art and extraordinary humanity—can Strains of this paternal relationship continue fourish if given the chance. to afect the everyday lives of Puerto Ricans. by Hunter Nelson
ARTSLANDIA.COM 15 SF: His plays are all about women. poverty. And being a homosexual and being a black man its really kind of a tough lot” And dramaturgy RPG: Absolutely and this particular one Baldwin responded, “Well, being born poor there’s only one man ofstage. I wanted and black and queer, I actually felt like I hit CONTINUED FROM PAGE 13 Mangos to be that, to have these sisters the jackpot because what else do you do and subjects, and also these themes and and this one man ofstage who was calling with that but be great?” That celebration of subjects are not that far from my own story the shots and the way the patriarchy things that other people look down on is so and the story of my people. then reinscribes itself even without a man important for me in my life and in my writing. physically present. So, Lorca very much Mangos is about a marginalized abused directly infuences me. Also the poesia, the SF: You do have this macabre sense of individual and a story we haven’t heard. It’s poetry, of his writing was so rich and that to humor going back to when you were a kid, also, to me very queer. There are queer me also connects to Tennessee Williams. and this play came out of what you call a characters but I also have a queer sensibility I love me some purple prose. There’s also “fever rage dream” and yet there’s so much that I think is part of what connected me to that thing about Tennessee Williams being heart inside your plays. You’re talking about these women. And the fact that I feel that I so gay. So gay. So queer in his life, defnitely, trauma, but there’s light inside of it. am Yinoelle—that is queerness personifed. and in his writings. And people, straight folk, There’s a queer sensibility about the play that love these plays and connect to these plays RPG: I don’t think you can write about isn’t just about gay characters. which are products of queer culture. trauma without that light. I think it’s irresponsible for one, and two, it’s been my SF: I know you’ve mentioned your theatrical These incredibly beautiful masterpieces life. I’m a child of abuse. I’m a child of trauma inspirations—Lorca is one of them. This of literature that are also queer. It’s James and a child of a racist society that didn’t think connects to what you’ve said about a queer Baldwin also. When I really need to fll the I could read. That didn’t think I could speak sensibility. Another inspiration you’ve talked well, I just think of James Baldwin. Giovanni’s English. That tried to block of educational about is Tennessee Williams. I’m wondering if Room. Because he was an activist, opportunities because I’m Puerto Rican. you could share why these writers inspire you obviously, but also he is one of the greatest I’ve been physically attacked three times for and who else you go to to fll the well, artistically. American writers that has ever lived— being queer—I’ve literally been beat up. And certainly of the last century. He was always yet look at where I am. I am blessed to be RPG: Yeah. So Lorca. I thought of this and so passionate and yet never backed down I’m glad you circled back to it when you able to tell stories with amazing collaborators from calling people out on their shit. He was in amazing places like the Magic. mentioned Three Sisters, I was actually unabashedly queer and unabashedly Black inspired by La Casa de Bernarda Alba. and poor. And that connects to me being There is always hope. SF: Ah, yes. Five sisters. born in a trailer park and being Puerto Rican, being the “brown boy” in Iowa and Nebraska. 1 That’s what I was called. I remember there The governor of Puerto Rico Ricardo Rosselló resigned RPG: Yeah, exactly. And there’s not a man in July 2019 after an enormous popular uprising following on that stage. And Lorca, a man, wrote a was an interview with him, where some host revelations of rampant corruption. play about fve women, six women. said, “So how do you feel? You come from 2From “Lejos de ti” by Angel Canales
IMPORTANT 1 2 PL ACES IN MANGOS
3 4
1. El Comandante, Carolina: a small neighborhood about ten miles outside of San Juan, historically working class 2. El Yunque National Forest: 45 minutes east 5 of San Juan and the only tropical rainforest in the U.S. National Forest Service, home to el coquí frog 3. Guaynabo: an afuent metro hub on the island’s northern coast, the frst area settled by the Spanish 4. San Juan: the capital city of Puerto Rico and its center of tourism, fnance, culture, and manufacturing 5. Isla Verde: (literally “Green Island”) the most luxurious neighborhood in Carolina. Boasts some of the most exclusive hotels in Northern Puerto Rico
16 MAGICTHEATRE.ORG September 26, 2018 – January 31, 2020 We gratefully acknowledge all those that support Magic Theatre with gifts to our Annual Fund, Beneft Fundraiser, and special projects. contributors
PRESIDENT’S CIRCLE Lea Ann and Mike Fleming Claire Noonan and Barbara Paschke and $100,000 + Sarah Nina Hayon Peter Landsberger David Volpendesta Liselott and Ken Hitz Frances and John O’Sullivan Marcia and Robert Popper The William and Flora Hewlett Sarah Kupferberg and Jane Reed Ellen Richard Foundation Sydney Temple Matt Pagel and Corey Revilla Deborah Robbins and Kathryn Kersey Susie Lampert Barbara and Saul Rockman Henry Navas The Shubert Foundation Mrs. Robert B. Mayer Lois and Arthur Roth Laurel Scheinman San Francisco Arts Vicky Reich and Elizabeth and Callie Silverman Commission Public Art Trust David S. H. Rosenthal William Shea Michelle D. and Toni Rembe & Arthur Rock Les Silverman Judy and Wylie Sheldon Richard J.Stratton LEADERSHIP CIRCLE Zellerbach Foundation Marjorie and Wendy So Katrina Wong Richard Smallwood Maureen Sullivan $50,000–$99,999 Jeanne Solis Susan D. Terris Grants for the Arts ASSOCIATE PRODUCER Matt Sorgenfrei Julie Wainwright John F. Marx and Nikki Beach $2,500–$4,999 Joanne Vidinsky and Elizabeth Werter and Venturous Theatre Fund of Alan Vidinsky Henry Trevor Ian Atlas & Renu Karir Tides Foundation Gerald Vurek and Lisa Avallone and Mike Aguiar Lynda Vurek-Martyn NEW WORK SUPPORTER Karen and David Crommie SEASON PRODUCER Toni K. Weingarten $250–$499 Karen Donovan Peter Wiley $25,000–$49,999 Seth Ammerman Donna and Leigh Wolf Nathan Cummings Foundation Courtland Lavallee Lynda Beigel Sharon and Robert Yoerg Anonymous Vicky Reich and George and Marilyn Bray Julius Young Martha Heasley Cox David S.H. Rosenthal Felix Braendel John Ziegler Foundation Michele and John Ruskin Steven A. Chase and Larry S. Goldfarb Ruth and Ken Wilcox NEW WORK ADVOCATE Andrea Sanchez Sandra Hess Bob and Lynne Zolli Terence Chu Bufngton Miller $500–$999 Jeanene E. Ebert Walter & Elise Haas PLAYWRIGHT'S ANGEL Actor’s Equity Foundation Kerry Francis and Foundation $1,000–$2,499 Nancy Baker, Ph.D. and John Jimerson Mark Schlesinger and Ms. Cathy Hauer Katherine C. Agnew Gini and Gordon Grifn Christine Russell Michele and David Benjamin Ms. Gladys Andersen RIchard Horrigan Lauren and Bryan Burlingame Susan Beech Tanya and Donald James EXECUTIVE PRODUCER Lynne Carmichael and Norma Belfer Jan and Sofa Laskowski $10,000–$24,999 Dora Zandanez Karen Laws and Dan Callaway The Mervyn L. Brenner Miriam Chall The Tournesol Project of the Foundation Chris Lorway Judith Ciani Smith Barth Foundation Pamela Culp Jeanne Newman Katie Colendich Lucia “Lucie” Brandon Lynn Ducken-Goldstein Margaret David Cover Edgerton Foundation David Goldman and O’Brien-Strain Ellen Davis Koret Foundation Carol Dweck Ann O’Connor Herve Duprez and Nancy Livingston and Betty Gottlieb Evan Painter Roland Jadryev Fred Levin Ed Harris and Amy Madigan David Pasta The Sam Mazza Foundation Larry Eilenberg and Kate Hartley and Kathleen O’Hara Frances Phillips National New Play Network Michael Kass David and Vicki Fleishhacker Eddy Reynolds and The Bernard Osher E. Craig Moody, Hernan Correa Laurie Ghielmetti Foundation In Honor of Richard Moody Elizabeth Goldbaum and Dorothy Schimke Harold and Mimi Steinberg Betty Hoener William Schwartz Charitable Trust Ross Wilson Lorraine Honig Christopher Shadix Dr. Alan Stewart and Richard Hay Lisa Hudson Lorinda Silverstein Frank Kelly Miriam John and Linda and Robert Klett Gerald and Molly and Bennet Young William Wilson Ray Applebaum and Martha Harriet Lawrie Deborah Van Atta Joanne Koltnow Walter Lehman Carol Wolf PRODUCER Linde-Sands Family Fund Meagan S. Levitan and Roy Zitting $5,000–$9,999 Fred Lonsdale Dale Carlson Frank Zwart Ardea Fund Ann and Karl Ludwig Dennis May Valerie Barth Marin Community Foundation Jo Ann and Rick McStravick Rebecca Eisen and Jim Eisen John G. McGehee
ARTSLANDIA.COM 17 We strive for accurate donor listings. If you have a correction or question, or would like to fnd out more about ways to support Magic Theatre, please contact Ciera Eis at [email protected].
PATRON Paul and $100–$249 Linda Rae Hardwick George Heymont Lada Alexeenko Adrienne Hirt and Neil R. Ackerman Jef Rodman Patricia L. Akre Jessica Hood and John Thomas Bacon Brian Suter Michael Bandrowski and Kathryn Hobart Renee Scott Elizabeth Jasny Jon and Ellen Benjamin Carolyn Jayne Robert Bergman Andrew and Noel Blos Susan Jokelson Catherine Brown Richard and Howard Brownstein and Susan Kaplan Janna Ullrey Ann and Paul Karlstrom Betty Bullock Ashok Katdare Lynn Bunim Rosemary Keller Shelley Burns Douglas Koenecky Carol and John Kolvenbach Thomas Burkhart Jeremy Kotin Steven and Kelli Burrill Athena Kyle Edward Callen and Nancy C. Lenvin Ann O’Connor Lawrence Lurie Deborah Cardenas Pam MacKinnon Gabrielle and Alexandra Marsh Craig Chapple Ana Maria Martel Millie and Barry Chauser John McIntosh Brigitte Q. and Linda McKay Jon W. Churnin Maeve Metzger Chuck Clanton Betty Mok Willa Crowell Roberta Mundie Peter B. Daly Daniel Murphy Judith Dufy Anne Ording Marilyn and Les Duman Tony Politopoulos Marie Earl and Kim Regan Peter Skinner Thomas Robinson Annette Farmanfarmaian Stephanie and Charles and Rick Rogers Debby Feinstein Stephen and Sonia Fernandez and Marica Ruben Long Do Martha Rubinson Mary and Tom Foote Mr. Ira Simmons and Elizabeth Foster and Ms. Elizabeth Jewell Michael Harris Pamela Smith Lucie and Stewart Fox Nancy and Robert Smith Nancy Cooper and Jefrey Smyser Richard Frank Joan St. Laurent and Douglas and Armar Archbold Mary Fraser Judith Stein Velia K. and Philip Frost Quentin Stephens Ronni Garfeld Walter Norton and Dennis Gregg Joan Sullivan Ashlin Halfnight Deborah Sussel and Maria and Martin S. Berman George Hammond Nancy Tune Lori Hanninen and Suman Venkataswamy Jef Wheaton Ruth and Julia Hansen Philip Waddington Sharon and Jerald Young
18 MAGICTHEATRE.ORG magic theatre staf
PUBLISHER + FOUNDER Misty Tompoles STAFF BOARD OF TRUSTEES Artistic Director Loretta Greco Co-Chair John Marx ASSOCIATE PUBLISHER Interim Managing Director Kevin Nelson Co-Chair Kathryn Kersey Katrina Ketchum Associate Artistic Director Secretary Alan Stewart Sonia Fernandez Treasurer Karen Donovan Production Manager Jackie S. Hill Trustees SALES DIRECTOR Lindsey Ferguson Patron Services Manager Larry Goldfarb Stephanie Holmes Loretta Greco, Artistic Director Manager of Institutional Giving Erin Merritt Sarah Nina Hayon DIGITAL DIRECTOR Chris Porras Manager of Individual Giving Ciera Eis Kevin Nelson Interim Managing Director General Management Associate Leigh Wolf Karina Fox Katrina Wong MANAGING EDITOR PR Consultant Jonathan White Kristen Seidman Bookkeeper Richard Lane Magic Arts + Community Director Fran Tarr LITERARY COMMITTEE ASSOCIATE DIRECTOR OF Teaching Artists Ely Orquiza, Sean Dunnington, Sonia Fernandez, EVENTS & SPECIAL PROJECTS Bridgette Dutta-Portman, Nicole Bruno, Hal Gelb, Sandra Hess, Ashley Coates Sean Dunnington Stephanie Holmes, Kylie Joerger, Season Artistic Apprentices Kate Leary, Amanda Lee, Jack Miller, PROJECT MANAGER + Sean Dunnington, Kylie Joerger, Patricia Miller, Hunter Nelson, SENIOR DESIGNER Hannah Meyer, Hunter Nelson Patricia Reynoso, Leigh Rondon-Davis Jackie Tran Development Volunteer Susan Boynton and Arthur Roth Administrative Volunteers Susie Lampert, BUSINESS MANAGER Jorden Charley-Whatley Bella Showerman MAGIC ARTISTIC LEADERSHIP John Lion (1967–1991) PUBLISHER’S PRODUCTION PERSONNEL Harvey Seifter (1991–1992) REPRESENTATIVE Larry Eilenberg (1992–1993) Assistant Stage Manager Rena Lourie Nicole Lane Mame Hunt (1993–1998) Assistant Director Kylie Joerger Larry Eilenberg (1998–2003) Assistant Dramaturg Hunter Nelson SOCIAL MEDIA MANAGER Chris Smith (2003–2008) Production Assistant Hannah Meyer Vladimir Popov Loretta Greco (2008–Present) Costume Assistant Alexia Domenique Master Electrician/ Sound Engineer PUBLISHING COORDINATOR The following individuals have Lyle Barrere of Desired Efect Mindy Mawhirter generously provided for Magic Theatre Light Board Programmer Corey Schaefer in their estate plans: Light Board Operator Sara Saavedra C. Edwin Baker, Martha Heasley Cox, PODCAST HOST Scene Charge Artist Adeline Smith Susannah Mars Bob Lemon, Mike Mellor, Mary Mofatt, Scenery engineered and built at Julia Sommer, Bert Steinberg, ACME Scenic Design and Alan Stewart, Toni K. Weingarten, VIDEOGRAPHER David Gardner Jordyn Roach
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