• Tony Garcia: ‘American Mariachi' is an American beauty

    by John Moore | Feb 15, 2018
    American Mariachi jennifer-parades-doreen-montalvo-photo-by-adamsviscom_26117323378_o
    In the essay below, Su Teatro Executive Artistic Director Tony Garcia offers his reactions to seeing the DCPA Theatre Company's world-premiere production of 'American Mariachi.' Pictured are Jennifer Parades and Doreen Montalvo. Photo by Adams VisCom.


    From his new play's very title, José Cruz González challenges us to examine what we consider to be 'American'

    By Tony Garcia
    For the DCPA NewsCenter

    Chicano and Latino art often struggles to cross over into the mainstream, in large part because the dominant culture can’t understand — and in some cases, even fears — the “otherness” of the language, the culture and the traditions at play. If a story is too authentic, then it runs the risk of being exotic, different or perhaps even threatening. But if a play makes too much accommodation to include audiences outside the culture, it runs the risk of being criticized by those in our own community who view Chicano and Latino artistic endeavors with ultra-sensitivity, and often hold them to a higher standard.

    Luis Valdez, the father of Chicano theatre, explained the paradox of the contemporary Chicano experience in Los Vendidos (The Sellouts) by having a character say: “Wait a minute, you want something Mexican … but American?” 

    a jose-cruz-gonzalez-webJosé Cruz González’s American Mariachi, a play now having its world premiere at the Denver Center, is straightforward in portraying Mexicans as normal, and mariachi as an honored tradition. And the play is familiar enough to be accessible to a crossover audience. (Pictured at right: José Cruz González.)

    American Mariachi is profound in its title, which challenges us to look at our definitions of both words. And it challenges us to examine what we consider to be American. Is it American to be mariachi? Or can mariachi be American? The answer to both questions is yes. González’s title tells us that mariachi music, often portrayed as a novelty form with its bawdy costumes, its loud instruments clashing with disinterested voices and crashing dishes in overcrowded restaurants, is part of what we call “American.” And it’s not up for debate. González proceeds to treat that conversation as a settled matter.

    More Colorado theatre coverage on the DCPA NewsCenter

    Although the play is set in the U.S., the location is never a factor in the story. The characters speak Spanish and English. They work, love their families and have dreams. They do not talk about their immigrant experience or border crossings. They do not talk about gang life, prison sentences or drug use. The characters are “normal.” And that is one of the greatest beauties of American Mariachi: The profound yet simple and true assumption that we are normal — in contrast to the contemporary political landscape, where we are portrayed as anything but normal. There is tremendous power in that.

    The playwright also makes no accommodation for a monocultural audience. He interweaves Spanish and English, often without translation. Some of the biggest punchlines in the play are told only in Spanish. We are also not given a European-American character to serve as our guide through this very Mexican journey. There are no translators or sympathetic allies waiting to sweep in and save us. The play is offered from a very entre nosotros perspective. This is as if to say: “This is our family, complete with joy and pain. You are invited in to view and share. We understand that we are not perfect — can you?”

    AM 800 bobby-plascencia-and-the-company-of-american-mariachi-photo-by-adamsviscom_39989603211_oWe are also passionate people, and our passion for mariachi is deep. It is steeped in tradition. Mariachi music is cross-generational with parents judiciously teaching their children its value. Mariachis pass the music through their families with some of the greatest mariachis being the product of multi-generational descendants of master musicians. Luthiers (guitar- and violin-makers) design, build and repair instruments for specific musicians. These instruments are also passed down from generations to generation, and American Mariachi celebrates this tradition. The play describes the role of each instrument. It talks about the sacredness of each aspect of the mariachi experience including the traje — the traditional costume — a vestige of the horse culture of Guadalajara. We are immersed in a respect for the music and the form. Welcome to Mariachi 101.

    (Pictured at right: Bobby Plascencia, center, and the company of 'American Mariachi.' Photo by Adams Viscom.)

    The core of American Mariachi is its heart. This is a play about family and intense love. And like any good bolero, it carries with it that aching moment of hubris that will scar the family for years to come. Its humanness and accompanying weakness invoke elements of a Greek tragedy, and it is that diametrical opposite human trait — forgiveness — that allows us to reconcile the two forces that eventually will heal us.

    I attended Opening Night of the Denver Center’s American Mariachi. At the climactic moment of the story, I heard sniffling in the crowded theater. That reminded me of a performance by El Teatro Campesino of La Carpa de los Rasquachis more than 4o years ago at the sad moment when Rasquachi realizes — like the iconic Willie Loman in Death of a Salesman — that his life given to toil and sacrifice has led to ultimate failure. The American Dream has become his nightmare. Upon Rasquachi’s inevitable death, the sniffles began. I looked around then, expecting to see all the soft-hearted Latinas in the audience with hankies to their eyes. And they were. But my older muy macho peers were also wiping tears from under their sunglasses.

    At a similar moment in American Mariachi, there was a symphony of sniffles. But as I looked around the emotional Stage Theatre, what struck me was the number of white males who were wiping their eyes under their bifocals this time.

    Both experiences revealed to me the power of theatre.

    Tony Garcia 160Tony Garcia is the Executive Artistic Director of El Centro Su Teatro since 1989 and has been a company member since 1972. He received his BA in Theatre from the University of Colorado Denver. He won a 2006 United States Artists Fellowship, was named The Denver Post’s 2010 Theatre Person of the Year and received the prestigious Livingston Fellowship from the Bonfils Stanton Foundation. He is also an adjunct professor at Metro State College in Denver.

    American Mariachi: Ticket information

    160x160-amercian-mariachi-tempAt a glance: Lucha and Boli are ready to start their own all-female mariachi band in 1970s’ Denver, but they’ll have to fight a male-dominated music genre and pressure from their families to get it done. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music.

    • Presented by the DCPA Theatre Company
    • Performances through Feb. 25
    • Space Theatre, Denver Performing Arts Complex
    • Tickets start at $30
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    Previous NewsCenter Coverage of American Mariachi:
    When Leonor Perez found mariachi, she found her true voice
    American Mariachi
    Perspectives: Music as a powerful memory trigger
    Photos, video: Your first look at American Mariachi
    American Mariachi
    's second community conversation: Food, music and tough issues
    Cast announced, and 5 things we learned at first rehearsal
    American Mariachi
    : Community conversation begins
    Summit Spotlight video: José Cruz González, American Mariachi
    2016 Summit: An infusion of invisible color and hidden voices
    Vast and visceral: 2017-18 Theatre Company season
    Denver Center taking new plays to new level in 2017-18

  • When Leonor Perez found mariachi, she found her voice

    by John Moore | Feb 09, 2018

    Video: Dr. Leonor Xochitl Perez curated the lobby exhibit on "The Trailblazing Women of Mariachi Music" in conjunction with the DCPA Theatre Company's 'American Mariachi,' playing through Feb. 25 before moving to the Old Globe Theatre in San Diego. Video by DCPA Video Producer David Lenk and Senior Arts Journalist John Moore. 


    Pioneering female mariachi was taught to keep her voice down, until she found the music that invited her to scream

    By John Moore
    Senior Arts Journalist

    Today, Dr. Leonor Xochitl Perez holds a PhD in Education from UCLA and a master’s degree in human development and psychology from Harvard. Which would be enough for most people.

    But Perez has lived an entirely additional accomplished life as the leading proponent and preservationist of women's mariachi history in two countries.

    Back in 1973, young Perez was just an unassuming wisp of a girl who took up mariachi music at her junior high school in East Los Angeles, little realizing that by joining one of the first youth mariachi groups in the country, she would soon be breaking decades-old barriers in a predominantly macho musical culture.

    American Mariachi quote“Back then, we were at the beginning of a time where we were reclaiming our right to hang on to our culture and our heritage,” Perez said at opening festivities for the DCPA Theatre Company’s world-premiere play with music American Mariachi, by José Cruz González.

    “I walked into a mariachi class for the first time as a girl who was not allowed to embrace her culture,” said Perez , who went on to an accomplished career in higher education. “My parents were more concerned about upward mobility and assimilation. But when the guitarrón, which is the big bass instrument, started playing, I could feel vibrations of that sound throughout my body. And it was reaching somewhere deeper than that moment and that sound.

    "I know that when I heard that music, I was reaching somewhere further back in time.”

    Perez went on to perform at two Presidential Inaugural Balls — one at 19 years old — and at the Hollywood Bowl.

    (Fast-forward through many years of raising a family and astonishing success in higher education here.)

    Perez decided to return to the arts in 2012 to become Artistic Projects Manager for the San Diego Symphony. She went on to found Mariachi Women, an organization that exists to recognize and empower mariachi women throughout the world, primarily through staging large women’s mariachi festivals throughout the world.

    For the Denver Center's production of American Mariachi, Perez has curated a massive lobby exhibit outside the Stage Theatre called The Trailblazing Women of Mariachi Music.

    "It's very exciting that Denver is the first venue to offer this play," she said, "and it’s actually a beautiful thing because Denver has an important place in Mexican-American history. In March of 1969, the first-ever convening of Mexican-American students happened right here in Denver. More than 1,500 Latino youth came from all over the country and they redefined their ethnic identity as Chicanos. Many of them went on to  become activists and important people nationally and internationally. So I'd say it's no coincidence that this play is starting here in Denver."

    (Story continues below the photo.)

    American Mariachi. Photo by Adams VisCom
    The company of 'American Mariachi.' Photo by Adams VisCom

    American Mariachi
    , set in the 1970s American southwest, follows a young woman named Lucha who becomes determined to learn how to play mariachi music as a way of keeping her mother from slipping further into her dementia. This at a time when being a female mariachi player was unheard of in the United States. And that fictional character’s story is, in some ways, Perez’s story as well.  

    "I'm so honored now, so many years later, to be able to tell the story of voices that have never been heard,” Perez said of her exhibit, which includes tales of pioneering women and includes actual suits worn by mariachi women at different times and places.

    Asked what the Leonor Perez of 2018 might say to the Leonor Perez of 1973, she said with a smile: "I would tell that little girl to hang in there, because there's going to be a very important place for the telling of this story — and that that little girl will be the person telling this story.”

    Here’s more of our conversation with Dr. Perez:

    John Moore: When did you start to become interested in researching women in mariachi?

    Leonor Xochitl Perez: While I was a graduate student at UCLA and I was learning research skills, I began to ask the question: ‘When exactly did women start playing mariachi music as instrumentalists? Not as singers, but as instrumentalists?" So I applied my academic and research skills into the idea of discovering the answer to that question.

    John Moore: How did you get started playing mariachi in the first place?

    Leonor Xochitl Perez: In 1973, there were various forces that came together to promote the idea of providing Mexican music in the U.S. schools. That included the 1968 Bilingual Education Act. There was the Chicano civil-rights movement. The study of ethnic music and Chicano studies were emerging in universities. All of this was happening at the same time. For me, playing mariachi music at my school was somewhat of a lonely experience because some kids played it as an extracurricular activity, but I continued to play this music throughout my entire life.

    John Moore: How did you become a leading mariachi researcher with everything else that was happening in your life?

    Mariachi community conversation: Food, music, issues

    Leonor Xochitl Perez: Regardless of my degrees, or the family life, or where I moved, I was always playing mariachi music.

    John Moore: Tell us how your life intersects with the story of the play.

    Leonor Xochitl Perez: The play shows the struggles that women have had to endure in order to play this music, because it is a male-dominated genre — and I had some of those challenges as well. As a young girl growing up in East Los Angeles, I was expected to live out the life of a traditional Latina young woman, and that meant being domestic and looking forward to motherhood and being a wife. That meant being demure and being quiet. All of those things are good, but I felt like there was so much more for me in life. So when I found mariachi music, I was able to express myself in ways that were not allowed in my community. For example, in mariachi music, we give out an expressive yell during the performance of this music. At home, I was told to be quiet, to watch my words, to keep my voice down, to not ask so many questions. But when I was in mariachi music, whenever I felt it, I'd let a grito — a yell — come out, just to show my love for the music, whether it's a romantic bolero or a traditional son.

    John Moore: We don't necessarily think of the arts, in many cultures, as patriarchal. Why was it so unheard of that a woman should play this music in the 1970s?

    40049100881_5ecae8ed49_zLeonor Xochitl Perez: Well, it's interesting, because mariachi music originates in the rural areas of Mexico. The ranchers would play mariachi music. Women would stay home. The ranchers were the ones who would work, and then go and relax at the bars after that. Some of them would play the music of the ranch. During the Mexican Revolution, there was this cultural renaissance where they had to rethink what the cultural identity of Mexico was going to be. So because it was very much focused on the people, and particularly more of the general population in Mexico, they brought forth a lot of the traditional and cultural practices of the country, and that included mariachi music. They brought it forth as a cultural symbol of national identity post-Mexican Revolution. And because it was male and for the males in the ranches, it just remained that way. It was the offering of this music in the school systems in the United States that actually opened the doors for women to begin to play this music in large numbers.

    John Moore: How did being part of one of the very first school programs that allowed girls to play mariachi empower you?

    Leonor Xochitl Perez: I was raised in a classical music program. I was first chair in the school orchestra, and we were expected to play delicately and blend in. But when I played mariachi music, I'd use my bow arm, and I'd grind into the strings right short of screeching with the intention to project that sound and to express its vibrancy. That's something I wasn't physically allowed to do in any other space when I was growing up. Also, in mariachi music, I was able to go places I wasn't allowed to go. As a young Latina in a traditional family, we had to stay near home. But with a mariachi group, I was able to travel to different places — not just across the city or across the state. Across the country. Eventually, I got an internship in Washington D.C. after high school.

    John Moore: What did you think when you heard that Jose Cruz Gonzalez had written American Mariachi, and that the Denver Center, one of the largest performing-arts organizations in the country, was going to be presenting this story on its largest stage?

    Leonor Xochitl Perez: I was so thrilled to hear that finally the story and the challenges of women in mariachi will begin to be told on a mainstream level. But I was even more excited to hear that I was going to be given the opportunity to curate this lobby exhibit — because the truth is that women have been engaged in the mariachi music for more than 100 years. The play is a great start, because it talks about women in the U.S. coming together in a male-dominated field. But women have been in mariachi music since 1903 in Mexico.

    John Moore: What about in the United States?

    More Colorado theatre coverage on the DCPA NewsCenter

    Leonor Xochitl Perez: I found a group that started playing in 1967 in Alamo, Texas. And what's really special about them is not only that they played in Alamo, but they were recruited to go entertain the troops in Vietnam. So they did their civic duty and traveled very far to continue the tradition of mariachi at the same time.

    John Moore: Give us an overview of what your display covers.

    A American Mariachi Lobby Display Leonor Perez 400 Photo by John MooreLeonor Xochitl Perez: The exhibit is a brief chronology of the 100 years of women in mariachi music. It focuses, specifically, from 1903 to the mid-'70s, when the play begins. It focuses on vintage photographs of the all-female groups that started from 1948 to 1953. There is also a really beautiful display of the uniforms they used back then. I have original suits from some of the groups that started back in the '60s and '70s. We don’t cover it here, but contemporary women are also making big strides and achieving quite a bit in the field of male mariachi music. For example, Mariachi Divas have been nominated for a Grammy eight times. They're the only mariachi group that has ever received two American Grammys — so they have beaten the men.

    John Moore: I want to know about Rosa, the gun-toting mariachi player you have pictured on the wall.

    Leonor Xochitl Perez: So Rosa Quirino started playing mariachi music in 1903 as a 13-year-old. And she loved it so much that eventually, she led a predominantly male group. She was the only female, and she was the director of that group. But it was a rough environment for a woman, so she needed to carry a gun to protect herself. And, apparently, she had no reservations about using it when she needed to.

    John Moore: How did you meet playwright José Cruz González and Music Director Cynthia Reifler Flores?

    Leonor Xochitl Perez: I give presentations on the history of women in mariachi music wherever I'm invited. I've been all over the world, actually. I've been to Kazakhstan and to Ireland talking about women in mariachi. I first met José on March 11, 2015, when I was provided the opportunity to go to California State University Los Angeles, where he teaches, and he came and heard my talk. Also in the audience was Cindy, who I already knew because she has been actively a participant in the mariachi field since the 1980s. I knew her as a musician in Mariachi Reyna de Los Angeles, so I was very aware of her contributions to mariachi music in Los Angeles. That was the intersection. It's just an honor for all of us who really are very passionate about this music that all of us can work together on this.

    John Moore: What are your thoughts on the play? This is a very specific story about one family in the 1970s. So tell us how this is a story for all audiences.

    Leonor Xochitl Perez: We have a population that's aging right now, and we're all going to have to address issues like dementia in our families. In that context, I think American Mariachi tells a story that's general to the public at large. It tells the relationship between a daughter and an aging mother. One of the lines in the play is "music is memory." And in this case, the music was the memory that became the glue that held them together. I think that's very important. And I think it's going to be relevant to many of us who are engaged in caring for our aging parents.

    John Moore: And, finally, this play is going to go straight from Denver to San Diego to be seen by audiences there. What does it mean to you that this is just the start of this play's journey?

    Leonor Xochitl Perez: I think that as the Latino population grows, we have to reassess the cultural content that we put out nationally. And I think that Denver taking the step to honor this story and by showing it and investing in it, is really a tremendous step in demonstrating to the nation at large the importance of reaching this growing population. We have major contributions that we make in this country, and very few people know about that. But I think we become stronger as a nation when we reflect our diversity in our art. So I think it's very important.

    John Moore was named one of the 12 most influential theater critics in the U.S. by American Theatre Magazine in 2011. He has since taken a groundbreaking position as the Denver Center’s Senior Arts Journalist.

    American Mariachi: Ticket information

    160x160-amercian-mariachi-tempAt a glance: Lucha and Boli are ready to start their own all-female mariachi band in 1970s’ Denver, but they’ll have to fight a male-dominated music genre and pressure from their families to get it done. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music..

    • Presented by the DCPA Theatre Company
    • Performances through Feb. 25
    • Space Theatre, Denver Performing Arts Complex
    • Tickets start at $30
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    Previous NewsCenter Coverage of American Mariachi:
    When Leonor Perez found mariachi, she found her true voice
    American Mariachi
    Perspectives: Music as a powerful memory trigger
    Photos, video: Your first look at American Mariachi
    American Mariachi
    's second community conversation: Food, music and tough issues
    Cast announced, and 5 things we learned at first rehearsal
    American Mariachi
    : Community conversation begins
    Summit Spotlight video: José Cruz González, American Mariachi
    2016 Summit: An infusion of invisible color and hidden voices
    Vast and visceral: 2017-18 Theatre Company season
    Denver Center taking new plays to new level in 2017-18

    American Mariachi Lobby Display Leonor Perez. Photo by John MooreDr. Leonor Xochitl Perez. Photo by John Moore.
  • Photos: First look at 'The Great Leap,' Opening Night of 'American Mariachi'

    by John Moore | Feb 09, 2018
    Production photos: Your first look at The Great Leap:


    The Great Leap Photos from 'The Great Leap,' opening Friday (tonight) and performing through March 11 in the Ricketson Theatre. To see more photos, click on the image above to be taken to our full gallery. Photos by Adams VisCom.  

    The Great Leap: Ticket information
    GreatLeap_show_thumbnail_160x160When an American college basketball team travels to Beijing for an exhibition game in 1989, the drama on the court goes deeper than the strain between their countries. For two men with a past and one teen with a future, it’s a chance to stake their moment in history and claim personal victories off the scoreboard. American coach Saul grapples with his relevance to the sport, while Chinese coach Wen Chang must decide his role in his rapidly changing country. Tensions rise right up to the final buzzer as history collides with the action on the court.

    • Presented by the DCPA Theatre Company
    • Performances Through March 11
    • Ricketson Theatre, Denver Performing Arts Complex
    • Tickets start at $30
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here


    Photos: Opening night of American Mariachi:

    Making of 'American Mariachi'

    Photos from opening night of the DCPA Theatre Company's world premiere of 'American Mariachi,' performing in the Stage Theatre through Feb. 25. To see more, click on the image above to be taken to our full gallery of photos. Photos by John Moore for the DCPA NewsCenter.

    American Mariachi: Ticket information

    160x160-amercian-mariachi-tempAt a glance: Lucha and Boli are ready to start their own all-female mariachi band in 1970s Denver, but they’ll have to fight a male-dominated music genre and pressure from their families to get it done. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music..

    • Presented by the DCPA Theatre Company
    • Performances through Feb. 25
    • Space Theatre, Denver Performing Arts Complex
    • Tickets start at $30
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    More Colorado theatre coverage on the DCPA NewsCenter

  • 'American Mariachi' Perspectives: Music as a powerful memory trigger

    by John Moore | Feb 02, 2018
    Making of 'American Mariachi'

    Photos from the making of 'American Mariachi.' The world-premiere play with music performs in the Stage Theatre from through Feb 25. Photo above from the public Perspectives conversation hosted by Douglas Langworthy. From left: Playwright José Cruz González, director James Vásquez and Scenic Director Regina Garcia. To see more photos, click on the image above to be taken to our full gallery. Photos by John Moore for the DCPA NewsCenter.


    Director James Vásquez says it’s a good story — 'and the best party you'll come to this winter in Denver.'

    By John Moore
    Senior Arts Journalist

    The DCPA Theatre Company’s world-premiere play American Mariachi, opening tonight in The Stage Theatre, is a memory play. But not in the way Tennessee Williams' The Glass Menagerie is considered a memory play — where a character looks back (often unreliably) on a story that took place many years before.

    American Mariachi is literally a play about memory. And music has long been proven to be one of the brain’s biggest triggers for memory.  

    “The play is inspired by a story I was told about an older woman who was suffering from Alzheimer's,” playwright José Cruz González told about 100 who gathered last week before the first preview performance of American Mariachi. “But when her family played this woman’s favorite song, she just lit up. I thought that was fascinating, and I soon realized this is such a common thing that affects all of us around the world.”

    American Mariachi, set in the 1970s American southwest, follows a young woman named Lucha who is caring for a mother with dementia. When Lucha finds a mariachi record that briefly brings her mother back to life, she becomes determined to learn how to play the song for her live, before it is too late. But this was a time when being a female mariachi player was unheard of in the United States.

    Here are five things we learned at Perspectives, a series of free public community conversations  held just before the first preview performance of every DCPA Theatre Company offering. Next up: The Great Leap at 6 p.m. Friday, Feb. 2, in the Jones Theatre.

    NUMBER 1The rhythm is gonna get you. Often when you attend a play, or even a musical, the audience is expected to politely sit back on their hands. That will not be the case here. Mariachi music has always encouraged cathartic, joyous yells from anyone within earshot. “We had an invited audience at our final dress rehearsal, and as soon as the music started paying, gritos were thrown from the audience, and we encourage that,” director James Vásquez said. “You can't help but want to get up and holler and clap and sing if you know the words.” The American Mariachi band also played at the beginning of a community conversation two weeks ago, “and it turned into a party,” Vásquez said. “That's how I like to think of our play: It’s a good story — but and it's also the best party you'll come to this winter in Denver.”

    Mariachi community conversation: Food, music, issues

    NUMBER 2 American Mariachi Perspectives  Amanda RoblesSchool of mariachi. This production is made up of nine actors and five professional mariachis — and the actors all learned to play instruments along the way. Crissy Guerrero, for example, learned to play the vihuela, a guitar-like instrument from 19th-century Mexico with five strings (no E) and a vaulted back. The Mexican vihuela is tuned similarly to the guitar. The difference is that the open G, the D and the A strings are tuned an octave higher than a guitar, thus giving it a tenor sound or a higher pitch. Amanda Robles, a professional singer, learned how to play the trumpet from scratch — which González called fitting for this show, because his characters are also learning to play from scratch. Robles was surprised by how different she found singing mariachi to be, compared to traditional musical theatre. “In a typical musical, you are always thinking about singing higher,” she said, “whereas mariachi is more guttural. You need to double down and really sing your heart out.” (Pictured above, from left: Costume Designer Meghan Anderson Doyle, actor Crissy Guerrero and actor Amanda Robles.) 

    NUMBER 3The train has left the station. The American Mariachi that opens tonight is a full hour shorter than the version that was read at the 2016 Colorado New Play Summit. It moves. “Jose has been able to really compact the story and the heart of the story,” said Guerrero, who was an original cast member. “A lot of painful decisions were made to cut things, I am sure. But we have always wanted to stay focused on the story we are telling.” 


    amanda-robles-photo-by-adamsviscom

    Photo of the 'American Mariachi' mural designed by Regina Garcia. Pictured: Amanda Robles. Photo by Adams VisCom.

    NUMBER 4 Plaza sweet. The action in American Mariachi takes place in multiple locations, so Scenic Designer Regina Garcia created a world that takes you inside a single home that grows into a community plaza with towers of residential windows and a stunning 60-foot brick mural. “In the spirit of collage, I decided to celebrate the Mexican arts in general with the mural, and that includes dance, cinema, spoken word, poetry, playwriting, civic leadership and community,” said Garcia. When González and Vásquez first arrived in Denver, they were taken into the DCPA scene shop where the mural was being created, “and we burst out crying, it was so gorgeous,” González said.

    NUMBER 5 Why is the play set in the 1970s? Because the stakes were higher. “That was when women really started to push for their right to play this music here in the United States,” González said. "Here these women are trying to push open a door that has been closed to them. And this music has been closed to them. It's been passed from father to son, not father to daughter. I felt it was the right time to tell a story about the empowerment of these Latinas." 

    More Colorado theatre coverage on the DCPA NewsCenter

    Bonus: What is the derivation of the word mariachi? It's a bit of a mystery, but it is thought to date back to the French invasion of Mexico in 1861. “It was thought that the word was connected to the French word mariage (or marriage),” Dramaturg Shirley Fishman said. Some say that’s because the Europe-born Emperor Maximilian of Mexico encouraged the music to be played at weddings. González’s theory dates back to the Spanish conquistador Hernán Cortés in the 1590s: "When Cortes arrived in the New World, his soldiers brought guitars, while the native people here played drums and flutes," said González. “And soon a new kind of music evolved. You can hear the African, the native and the Spanish influences in the rhythms of mariachi." Today the word mariachi can refer to a single player, a group, or the music itself.

    John Moore was named one of the 12 most influential theater critics in the U.S. by American Theatre Magazine in 2011. He has since taken a groundbreaking position as the Denver Center’s Senior Arts Journalist.

    American Mariachi: Ticket information

    160x160-amercian-mariachi-tempAt a glance: Lucha and Boli are ready to start their own all-female mariachi band in 1970s’ Denver, but they’ll have to fight a male-dominated music genre and pressure from their families to get it done. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music..

    • Presented by the DCPA Theatre Company
    • Performances through Feb. 25
    • Space Theatre, Denver Performing Arts Complex
    • Tickets start at $30
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    Previous NewsCenter Coverage of American Mariachi:
    Photos, video: Your first look at American Mariachi
    American Mariachi
    's second community conversation: Food, music and tough issues
    Cast announced, and 5 things we learned at first rehearsal
    American Mariachi
    : Community conversation begins
    Summit Spotlight video: José Cruz González, American Mariachi
    2016 Summit: An infusion of invisible color and hidden voices
    Vast and visceral: 2017-18 Theatre Company season
    Denver Center taking new plays to new level in 2017-18

  • Video, photos: Your first look at 'American Mariachi'

    by John Moore | Jan 30, 2018
     

    Opening night is this Friday in the Stage Theatre

    Your first look at the DCPA Theatre Company's American Mariachi, José Cruz González’s story of a young woman in the 1970s who becomes determined to form an all-female mariachi band in a desperate attempt to connect with a mother lost in her dementia. The play, a co-production with the Old Globe Theatre, opens Friday (Feb. 2) and moves directly to San Diego for performances there after it closes in Denver on Feb. 25. The director is James Vásquez. Video by DCPA Video Producer David Lenk. 


    Production photos:

    American Mariachi

    Click the image above to be taken to our full gallery of more than 30 production photos. Photos by Adams VisCom for the DCPA NewsCenter.

    American Mariachi: Ticket information

    160x160-amercian-mariachi-tempAt a glance: Lucha and Boli are ready to start their own all-female mariachi band in 1970s Denver, but they’ll have to fight a male-dominated music genre and pressure from their families to get it done. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music..

    • Presented by the DCPA Theatre Company
    • Performances Jan. 26 through Feb. 25
    • Space Theatre, Denver Performing Arts Complex
    • Tickets start at $30
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    Previous NewsCenter Coverage of American Mariachi:
    American Mariachi's second community conversation: Food, music and tough issues
    Cast announced, and 5 things we learned at first rehearsal
    American Mariachi
    : Community conversation begins
    Summit Spotlight video: José Cruz González, American Mariachi
    2016 Summit: An infusion of invisible color and hidden voices
    Vast and visceral: 2017-18 Theatre Company season
    Denver Center taking new plays to new level in 2017-18

    amanda-robles-photo-by-adamsviscom_26117318568_o 800Amanda Robles of 'American Mariachi.' Photo by Adams Viscom.
  • 'American Mariachi' community conversation: Food, music and tough issues

    by John Moore | Jan 18, 2018
    Making of 'American Mariachi'

    Local performers Deborah Gallegos and Yolanda Ortega of Su Teatro at the DCPA's 'recent American Mariachi' community conversation. To see more photos, click the image above to be taken to a full gallery. Photos by John Moore for the DCPA NewsCenter.


    'We've got some work to do,' DCPA tells Latinx community at forum addressing both barriers and opportunities

    By John Moore
    Senior Ats Journalist

    The DCPA hosted one its largest community conversations on record Jan. 11, when about 100 local Latinx and others gathered to talk about the many possibilities and challenges afforded by the Theatre Company's upcoming world premiere of the musical play American Mariachi.  

    And several admitted they came looking for a fight. One was Reynaldo Mireles, program manager of the Gay, Lesbian, Bisexual & Transgender Community Center of Colorado.

    “My first thought when I received the invitation was that I want to go down there and fight with some gringos,” Mirelis said to laughter. “I thought, ‘Well, I never got an invitation from the DCPA to have a conversation about us being Latinos before,’ so I was really coming in with that fighting energy.”  

    But he quickly softened after arriving at the DCPA’s Newman Center for Theatre Education. And for two reasons, he said: “There was cena … and there was musica.”

    Dinner and music.

    Cynthia Reifler Flores. American Mariachi Photo by John MooreThe latter was a rousing, 30-minute performance by the American Mariachi house band led by Cynthia Reifler Flores (pictured right), described by director James Vásquez as “one of the leading female mariachis in the world.” The musical demonstration, led by Flores' singing, moved legendary, five-decade Su Teatro actor Yolanda Ortega to spontaneously tell Flores: “You sing with your heart and with every little fiber in your body. I'm your new groupie.”

    Attendees represented a wide range of metro cultural, business and civic groups including the Mexican Cultural Center, Telemundo Denver, Mi Casa Resource Center, Museo de las Americas, The GrowHaus and the Denver mayor’s office, along with individual artists, teachers and students. Also representing was the entire cast of American Mariachi, José Cruz González’s story of a young woman in the 1970s who becomes determined to form an all-female mariachi band in a desperate attempt to connect with a mother lost in her dementia. The play, a co-production with the Old Globe Theatre, moves directly to San Diego for performances there after it closes in Denver on Feb. 25.

    Others admitted to their cynicism as well. But after 90 minutes of blunt and constructive conversation about the sustainability of the DCPA’s aggressive commitment to communities of color both during and after American Mariachi, any opening clenched fists changed to handshakes.

    “We are here to support you, and I am really excited about bringing more GLBT from our community to the play,” Mireles said at the end of the evening. “And of course, our ninas, because I am wanting them to see what they could actually become one day.”

    How did Mireles and others move so far in such a short period of time? In part because DCPA Director of Strategic Projects FloraJane DiRienzo came clean.

    “We’ve got some work to do,” DiRienzo said flatly. Not so much onstage: The Theatre Company has in recent years staged three world premieres by González as well as new works by Karen Zacarias, Octavio Solis, Rogelio Martinez and other Latinx playwrights.

    “We have always had a longstanding commitment to diverse voices on stage," she added. "But in some ways that has fallen a little bit short because we have make sure that our audiences are just as diverse as those voices that are onstage

    Suggestions from the community included making sure bilingual employees are positioned at the front door of the Helen Bonfils Theatre Complex to welcome all first-time patrons who need help finding their way around. Others hope that translated supertitles like you see at the opera are made available for non-English-speaking audiences. Others wondered if a performance or two might be presented entirely in Spanish. The director and his cast committed to both exploring those possibilities, and to making personal appearances at any local school that asks them.

    The primary, systemic barriers to attendance at major arts venues by communities of color are not unique to Denver: The price barrier, getting the word out to the people who might be most invested in a given story, and the cost and general intimidation of downtown parking.

    One of the most moving testaments to that reality came from Bianca Acosta, a young, single mother who is working to becoming a teacher at Bryant-Webster, a dual language Denver Public School that happens to house Mariachi Juvenil de Bryant Webster — the first after-school elementary mariachi group in the DPS system. She said:

    “I was not going to come tonight because my grandfather passed last night in Mexico. The last time I came here, I got lost for almost an hour looking for this  building because I am not familiar with driving downtown. And if I pay $10 for parking — that's my budget for gas for an entire week. Those are real things. Denver is such a beautiful city, and I am so in love with it, but it's expensive. But I am here to represent my community.

    “When I first heard this play was happening, I was so excited, but then when I saw the price of the tickets, I said to myself, ‘I can't even afford to bring me, much lesss my family.’ I see my family every day struggling to survive. When we talk about theatre, it doesn't even cross their minds because it is so out of our reach.

    “That's why I wanted to come tonight: To tell you that our communities deserve to have the experience to see this play just like anyone else. So how can we make that happen? Is there a way to raise money to bring as many families, especially Spanish-speaking families, to the play? I imagine that many of those people who come will be going to be in a theatre for the first time. I can imagine their kids being blown away by seeing their culture and their music portrayed on the stage. How can we make that possible?”

    DiRienzo told the crowd the DCPA is committed to ensuring that everyone who wants to see the play has an opportunity.

    "It's possible," DiRienzo told Acosta. "Yes, it's possible.”

    DCPA board member Patricia Baca told Acosta and others in attendance that  the DCPA has scholarships and corporate underwriting that can make it affordable for families with financial hardship to come to the DCPA not only to see its plays but to participate in classes offered by the Education Division. And she made it plain that the DCPA’s commitment to Latinx and other communities of color is neither new nor fleeting.

    "The Denver Center is for everybody," she said.

    “And this is not the first or last play we will ask you to come in and give us your thoughts about,” Baca added. “And we will not only ask you to give us your thoughts on Latino-oriented plays. We want you here for the multitude of offerings, and we want to know what you think and feel.

    “The conversation cannot end here. The conversation needs to continue. The suggestions you have made have been noted. And we will take action on as many of those as we can.” 

    Here is a roundup of other comments from the community conversation:

    American Mariachi director James Vásquez: “My full name is Pedro James Vásquez. My dad was born in Mexico, and my mom in  Southern California. I look very much like my mother, while my two younger brothers look very Mexican. I don't have a Spanish accent, so growing up, I got made fun of by a lot of my cousins for the way I spoke. So I just stopped speaking. American Mariachi is about reconnecting people to their culture. It’s about being given permission to reconnect with your culture, and attempt to start speaking again. And I am grateful for that.”

    Tina Walls, DCPA Board member: “My big passion is bringing the arts and culture of the underrepresented to the broader community, and bringing the under-represented, especially the kids, to this wonderful cultural footprint that we have in this community."

    Patrick Elkins-Zeglarski, DCPA Associate Director of Education: “People don't get any whiter than I am, and no more devoted to mariachi. And I can tell you that mariachi saved my life when I was growing up. I came from a very violent high-school experience, but we would stop everything when my peers would bring out their instruments and bring us all together in the halls of our high school in Northern California. So I am very much a witness to the story you are telling. Could we have any greater Valentine to our community than this play?”

    Jesse Ogas, Su Teatro and Fire Fly Autism: “We are seeing bigotry and hatred and ugliness in our community that I have not experienced in my lifetime — but my parents did. And to watch them now as elders having to relive that just infuriates me. What you are doing right now with American Mariachi is extremely important at this particular time in our history because you are portraying who we are as people — and to celebrate us in this way really is important. It takes courage.”

    Patty Baca, DCPA board member: "This play is going to be one of the delights of our community this year. I believe so strongly in this story, especially for our children so that they can see our people on the stage. See our people writing the play, directing the play, designing the play — and knowing that those are all possibilities for them as well.”

    John Moore was named one of the 12 most influential theater critics in the U.S. by American Theatre Magazine in 2011. He has since taken a groundbreaking position as the Denver Center’s Senior Arts Journalist.

    American Mariachi: Ticket information

    160x160-amercian-mariachi-tempAt a glance: Lucha and Boli are ready to start their own all-female mariachi band in 1970s Denver, but they’ll have to fight a male-dominated music genre and pressure from their families to get it done. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music..

    • Presented by the DCPA Theatre Company
    • Performances Jan. 26 through Feb. 25
    • Space Theatre, Denver Performing Arts Complex
    • Tickets start at $30
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    Previous NewsCenter Coverage of American Mariachi:
    Cast announced, and 5 things we learned at first rehearsal
    American Mariachi
    : Community conversation begins
    Summit Spotlight video: José Cruz González, American Mariachi
    2016 Summit: An infusion of invisible color and hidden voices
    Vast and visceral: 2017-18 Theatre Company season
    Denver Center taking new plays to new level in 2017-18

  • 'American Mariachi': Cast announced, and 5 things we learned at first rehearsal

    by John Moore | Jan 04, 2018
    The making of American Mariachi: Photo gallery:

    Making of 'American Mariachi'

    Photos from the opening week of rehearsals for 'American Mariachi.' The world-premiere play with music performs in the Stage Theatre from Jan. 26 (opening Feb. 2) through Feb 25. To see more photos, click on the image above to be taken to our full gallery. Photo above by Bobby Plasencia. Other photos by John Moore for the DCPA NewsCenter.


    Director James Vásquez says now is a wildly important time to be telling stories about women in the American theatre

    By John Moore
    Senior Arts Journalist

    Rehearsals for the DCPA Theatre Company's upcoming world-premiere co-production of  playwright José Cruz González's American Mariachi began in earnest this week, launching an unprecedented partnership with the acclaimed Old Globe Theatre in San Diego.

    Amerian Mariachi QuoteThe new play with live music will open at the Stage Theatre in Denver on Feb. 2 and run through Feb. 25 as a featured attraction of the 2018 Colorado New Play Summit. And once it closes here, the entire production will be transported intact to San Diego for a second run opening March 29 – sets, actors and all.

    American Mariachi is set in the 1970s American southwest. It follows the journey of a young woman named Lucha, who has become the caretaker for a mother with dementia. When Lucha finds a mariachi record that briefly brings her mother back to life, she becomes determined to learn how to play this magical song for her before it is too late. But at a time when being a female mariachi player was unheard of in the U.S., Lucha's hopes for performing seem like a fantasy until she assembles a spunky group of female mariachi musicians who are ready to make her dream come true.

    "This is an opportunity to tell a really important story about women, about the Latinx culture and about music,” DCPA President and CEO Janice Sinden said at a gathering to greet the cast and creative team as they began rehearsals.  

    Director James Vásquez agreed that now is a “wildly, wildly” important time to be telling stories about women in the American theatre. “I grew up surrounded and influenced by strong women all my life,” he said, “so to be able to help tell these stories is an honor — and, I think, a duty.”

    Here are five things we learned at first rehearsal:

    NUMBER 1American Mariachi Patty Baca. Photo by John Moore The DCPA will host its second community conversation introducing American Mariachi and its importance from 6-8 p.m. Thursday, Jan. 11, at the Newman Building for Theatre Education, located at 13th and Arapahoe streets. DCPA Director of Strategic Projects FloraJane DiRienzo said the gathering is an opportunity for all interested parties to join Vásquez, learn more about the play and discuss with DCPA staff how to deepen engagement with the Hispanic and Latinx communities around this high-profile staging. "We are truly thrilled to have you here," said Dr. Patricia Baca (pictured above and right), longtime DCPA board member and former Denver Public Schools deputy superintendent, in welcoming the American Mariachi cast and creative team to Denver. "To me, this play is extremely important, certainly for the Latinx community, but really for all communities. We're going to get a lot of people here to see the talent that you bring, and the potential that you represent to young people in our community. You are the reality of what our kids dream of." Anyone wanting to attend the free conversation is asked to RSVP by email to Jennifer Kemps at JKemps@dcpa.org.

    Our report from the first Mariachi community conversation

    NUMBER 2 Conversations around American Mariachi reflect a rise in the term “Latinx” (pronounced “Latin X”), which is being more widely embraced among scholars, community leaders and journalists as a gender-neutral alternative to Latino or Latina.  According to The Huffington Post, Latinx is part of a “linguistic revolution” that aims to move beyond gender binaries and is inclusive of the intersecting identities of Latin American descendants. In addition to men and women from all racial backgrounds, Latinx also makes room for people who are trans, queer, agender, non-binary, gender non-conforming or gender fluid.

    American Mariachi Mural in progress. Designed by Regina Garcia. Photo by John MooreThe mural that made the director and playwright cry is shown in progress. It is the vision of Scenic Designer Regina Garcia. Photo by John Moore for the DCPA NewsCenter.

    NUMBER 3González returns to Denver with his third world-premiere play for the DCPA Theatre Company, following the lyrical magical realism piece September Shoes in 2005 and the outright comedy Sunsets and Margaritas in 2008. Last week, he and Vásquez got an early peek at a massive mural that will serve as the foundation of Regina Garcia's scenic design in the DCPA's scenic shop. "Both of us just started crying," Vásquez said. Addressing all of the artists who are working in any capacity toward the creation of this show, González said: "To me, you are all magical unicorns, because you make magic. You are the heart and soul of the DCPA, and I am humbled by that. Thank you for your talent, for your professionalism, and for your desire to make the impossible happen."

    American Mariachi Cast

    NUMBER 4 Vásquez described American Mariachi as the story of underdogs, "and right now, there is no better play to celebrate the underdog stepping into their voice than this one," he said. "We get to tell the story of five underdogs who have been pushed down, and they step out into the world and make a change. I think that's really exciting, and I think the world is ready for that. So that's what we are going to do."

    NUMBER 5 For more than a decade, the DCPA Theatre Company has typically introduced developing new works at its annual Colorado New Play Summit and then scheduled two or three titles to be fully staged on the next mainstage season. American Mariachi was given an unprecedented two-year gestation period, and for that, González is grateful. "It's really great to have been given the extra time to continue to develop the play with continuing workshops here and in Los Angeles, González said. "What was so wonderful about showing early versions of our story was seeing young women in particular come and see their lives being played out up there on the stage. That is a rare and important thing for them." 

    More Colorado theatre coverage on the DCPA NewsCenter

    American Mariachi: Cast and creatives announced:

    • Playwright: José Cruz González 
    • Director: James Vásquez
    • Music Director: Cynthia Reifler Flores
    • Natalie Camunas as Gabby / Ensemble
    • Crissy Guerrero as Soyla / Sister Manuela / Ensemble
    • Rodney Lizcano as Mino / Padre Flores / Ensemble
    • Doreen Montalvo as Amalia / Doña Lola/ Ensemble
    • Jennifer Paredes as Lucha / Ensemble
    • Bobby Plasencia as Federico / Ensemble
    • Luis Quintero as Mateo / René / Rubin / Ensemble
    • Amanda Robles as Isabel / Tía Carmen/ Ensemble
    • Heather Velazquez (Hortensia (Boli) / Ensemble 
    • Scenic Designer: Regina Garcia
    • Costume Designer: Meghan Anderson Doyle
    • Lighting Designer: Paul Miller
    • Sound Designer: Ken Travis
    • Dramaturg: Shirley Fishman
    • Stage Manager: Rachel Ducat
    • Assistant Stage Managers: Heidi Echtenkamp and Amanda Salmons
    • Violin: Martin Padilla
    • Violin :Tomás Tinoco Jr.
    • Trumpet: Guadalupe Zarate
    • Vihuela:Erick Jiménez
    • Guitarrón: Ruben Marin
    John Moore was named one of the 12 most influential theater critics in the U.S. by American Theatre Magazine in 2011. He has since taken a groundbreaking position as the Denver Center’s Senior Arts Journalist.

    American Mariachi: Ticket information

    160x160-amercian-mariachi-tempAt a glance: Lucha and Boli are ready to start their own all-female mariachi band in 1970s’ Denver, but they’ll have to fight a male-dominated music genre and pressure from their families to get it done. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music..

    • Presented by the DCPA Theatre Company
    • Performances Jan. 26 through Feb. 25
    • Space Theatre, Denver Performing Arts Complex
    • Tickets start at $30
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    Video: José Cruz González at the 2016 Colorado New Play Summit

     José Cruz González talks with John Moore about 'American Mariachi' during its first iteration in 2016.

     

    Previous NewsCenter Coverage of American Mariachi:
    American Mariachi: Community conversation begins
    Summit Spotlight video: José Cruz González, American Mariachi
    2016 Summit: An infusion of invisible color and hidden voices
    Vast and visceral: 2017-18 Theatre Company season
    Denver Center taking new plays to new level in 2017-18

  • 'American Mariachi': Community conversation begins

    by John Moore | Oct 09, 2017
    Making of 'American Mariachi'Photos from the Sept. 21 roundtable conversation on 'American Mariachi,' opening Jan. 26. To see more photos, hover your cursor over the image above and click the forward arrow that appears. Photos by John Moore for the DCPA NewsCenter.

    Playwright, director introduce coming world premiere that will tell a pioneering story from Denver to San Diego.


    By John Moore
    Senior Ats Journalist

    The DCPA invited members of various local Latino communities to join them on Sept. 21 for a roundtable conversation on American Mariachi, the Theatre Company’s upcoming world premiere musical play by José Cruz González.

    American Mariachi Students from three local colleges, teachers, mariachi players and members of the Mi Casa Resource Center were among the two dozen who joined the playwright, director James Vásquez and members of the DCPA staff for a free-form introduction to the play, followed by an open discussion on how the Denver Center might best engage the community around this high-profile staging.

    American Mariachi is a first for the DCPA Theatre Company: It is being created as a co-production with the Old Globe Theatre in San Diego. That means the story is being brought to life here in Denver from Jan. 26-Feb. 25 as a featured attraction of the 2018 Colorado New Play Summit. And once it closes here, the entire production will be transported to San Diego for a second run opening March 23 – sets, actors and all.

    González and Vásquez gave the roundtable audience their enthusiastic accounts of the play’s history, inspirations, logistical challenges and potential audience impact. “I think this play is ultimately going to have a beautiful, brilliant life all around the country,” Vásquez said.

    But first González, who previously debuted September Shoes (2005) and Sunsets and Margaritas (2009) at the Denver Center, wants to make sure as many people from all economic, ethnic and cultural backgrounds see the play when they have the opportunity in Denver. Here’s some of what they told those gathered:

    What’s the story? American Mariachi is set in the 1970s American southwest. It follows the journey of a young woman, Lucha, who has become the caretaker for a mother suffering from dementia. As a girl, Lucha’s father and his best friend were part of a mariachi band, and their home was filled with life and music. But something happened that tore the band apart, after which the mother began to lose herself. Now years later, Lucha and her cousin find a record of a mariachi song that briefly brings the mother back to life. Lucha is then determined to learn how to play this magical song for her mother before it is too late. But as the young women set out to start their own mariachi band (something unheard of in that day), everyone around them discourages them because they are women – including Lucha’s father. But they do it anyway.

    American Mariachi. Summit Are they any good? In a word, no. “They're The Bad News Bears of mariachi bands,” González said. “They're not great. But they find their path, and they learn the song. And along the way they find their voices - and their places in the world.”

    (Pictured right: Elia Saldana and Sal Lopez in the 2016 Colorado New Play Summit reading of 'American Mariachi.' Photo by John Moore for the DCPA NewsCenter.) 

    Will the play include live music? The cast of nine not only must act and sing, they will play live musical instruments. In addition, five mariachi musicians will make up the orchestra.

    The music: About 14 songs will be performed in American Mariachi. González wrote three, including the poignant ballad song at center of the plot. The rest are traditional songs.    

    American Mariachi The development: American Mariachi was commissioned by the DCPA Theatre Company in 2014 and was presented as a featured reading at the 2016 Colorado New Play Summit. It has been honed through two workshops since, most recently in Los Angeles this past summer. At the Colorado New Play Summit in 2016, "it was 150-page play,” González said. "We're now down to 95 pages. So it's now very lean, and it moves like gangbusters.”

    (Pictured right: The cast of the DCPA's 'American Mariachi' at a workshop in Los Angeles in July. Photo provided by Douglas Langworthy.)

    Is there a language barrier? “The script is 95 percent English, with a smattering of Spanish here or there,” Vásquez said. And pains will be taken to convey the meaning of any Spanish word, through physical gestures or outright translation. “Now, the traditional songs are in Spanish,” Vásquez said. “But I think their meaning is something our audience will understand through the sheer theatricality of the musicians."

    That goes both ways: One roundtable attendee said the language barrier works both ways: “I think there would be an appetite for an all-Spanish version of this show for the communities that can only speak Spanish and would otherwise not be able to engage in the story fully,” she said. González took that to heart and said he will consider producing an all-Spanish version of the script.

    More Colorado theatre coverage on the DCPA NewsCenter

    Who is the play for? After an earlier public reading, Vásquez was greeted by a young woman who told him, “I have never seen myself represented on stage. I see movies or TV shows or plays, and it's never about me. This was about me." "She walked out feeling like she had a place in the world," Vásquez said, "which I think is a testament to the play Jose has written.” But González was quick to add that American Mariachi is not only about these young women finding their voices. “It's also about families dealing with Alzheimer’s and other issues we are all dealing with in our own communities,” he said.

    The aftermath:
    After the creators’ presentation, DCPA staff asked their guests for their questions and concerns. One intrigued attendee said American Mariachi may well be seen as an effective counter in communities that still have a stigma about the relevance of the arts. Among the other concerns: A possible price barrier, getting the word out to the people who might most be interested in this story, and the cost of downtown parking. DCPA representatives told them they are committed to ensuring that everyone who wants to see the play has an opportunity.

    “You can open doors,” the DCPA's Nataki Garrett said, “or you can remind people that the doors are open.”


    John Moore was named one of the 12 most influential theater critics in the U.S. by American Theatre Magazine in 2011. He has since taken a groundbreaking position as the Denver Center’s Senior Arts Journalist.

     

    American Mariachi: Ticket information

    160x160-amercian-mariachi-tempAt a glance: Lucha and Boli are ready to start their own all-female mariachi band in 1970s’ Denver, but they’ll have to fight a male-dominated music genre and pressure from their families to get it done. This humorous, heartwarming story about music’s power to heal and connect includes gorgeous live mariachi music..

    • Presented by the DCPA Theatre Company
    • Performances Jan. 26 through Feb. 25
    • Space Theatre, Denver Performing Arts Complex
    • Tickets start at $25
    • Call 303-893-4100 or BUY ONLINE
    • Sales to groups of 10 or more click here

    Video: José Cruz González at the 2016 Colorado New Play Summit

     

     

    Previous NewsCenter Coverage of American Mariachi:
    Summit Spotlight video: José Cruz González, American Mariachi
    2016 Summit: An infusion of invisible color and hidden voices
    Vast and visceral: 2017-18 Theatre Company season
    Denver Center taking new plays to new level in 2017-18

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ABOUT THE EDITOR
John Moore
John Moore
Award-winning arts journalist John Moore has recently taken a groundbreaking new position as the DCPA’s Senior Arts Journalist. With The Denver Post, he was named one of the 12 most influential theater critics in the US by American Theatre Magazine. He is the founder of the Denver Actors Fund, a nonprofit that raises money for local artists in medical need. John is a native of Arvada and attended Regis Jesuit High School and the University of Colorado at Boulder. Follow him on Twitter @moorejohn.

DCPA is the nation’s largest not-for-profit theatre organization dedicated to creating unforgettable shared experiences through beloved Broadway musicals, world-class plays, educational programs and inspired events. We think of theatre as a spark of life — a special occasion that’s exciting, powerful and fun. Join us today and we promise an experience you won't soon forget.