The Fountain Theatre is now casting the following role for its upcoming world premiere production of Runaway Home by Jeremy J. Kamps, directed by Shirley Finney.
[ARMANDO] 35 to 45 years old, Mexican male. Owns and runs the small local store in the Lower 9th Ward, New Orleans. Has two daughters in Mexico. Guarded, vulnerable, empathetic, longing, wistful, independent, self-sufficient, courageous, inner-turmoil, soft but with a temper. He offers Kali a job in his store, trying to help the young runaway girl, which leads to a harrowing but hopeful end.
STORYLINE: Set in New Orleans, Lower 9th Ward, three years after Hurricane Katrina. In this funny and deeply moving story, 14 year-old Kali embarks on a journey. Rhyming, stealing, and scamming her way through her still-destroyed neighborhood, engaging the lively folk who remain and running from her worried mother, Kali picks through the wreckage of what used to be her life and is forced to confront the cost of moving forward and embrace the loving power of family.
Rehearsals start August 7th. The production opens September 16th and runs to November 5th. The Fountain Theatre operates under the new AEA 99 Seat Agreement.
Lawrence Stallings, Pablo Castelblanco, Richard Azurdia, Peter Pasco
by Victoria Montecillo
Last weekend, I got to watch our production of My Mañana Comes on its closing weekend. It’s three days later, and I’m still thinking about it. After hearing about the show and the kind of work that the Fountain produces from Stephen Sachs and Barbara Goodhill, I was eager to see the work in action. I knew that the show was about four busboys in a high-end restaurant, and that the show would touch on issues surrounding immigration and fair pay, but I was otherwise walking in with no expectations of what I was about to see.
Playwright Elizabeth Irwin
One of the first things that captured me within the first couple of scenes was the reality of it all. I knew the playwright was a woman, and I was stunned at her ability to capture the conversations between these young men so well. I could feel each unique voice and personality from the four characters, which only made the story even more riveting.
I felt like this play really sneaks up on you, in the best way possible. For a while, it’s just four guys working in a kitchen trying to make ends meet, teasing each other, and sharing their lives with one another. And in the next moment, you’re suddenly aware of how much you care about each of these men. They’re each dealing with their own set of challenges, and you can feel yourself rooting for them. And suddenly you’re watching these characters you care about struggling to fight for equal pay, providing for their families, and maintaining their friendships with each other.
As a theatre geek, I have to say that I have a soft spot for powerful pieces of theatre that don’t have a happy ending. They end, instead, by giving the audience something to think about, and with the gut-wrenching realization that theatre is, in fact, an avenue for real stories about real people. Perhaps after the show that I saw, the actors all came out smiling and ready to answer all of our questions and discuss the piece in an illuminating and inspiring talkback, but stories like that don’t always end that way. This piece, and the incredible actors in the cast, were telling a much bigger story of real struggle.
On top of all of that, the audience gets to witness all of this unfold in the Fountain’s cozy, 78-seat theatre. Their space made us feel like we were all apart of this story, and part of the action. Seeing this particular piece in such a small space helped me realize how effective it can be to tell stories in a smaller space, where there seems to be no separation or distance between the performers and the audience. Everything is shared, and that makes the experience all the more powerful.
Pablo Castelblanco and Peter Pasco
Another thing I really appreciated about this production was how well it brought to light very specific perspectives within cultural identity. In the talkback with the cast after the show, which was moderated by Stephen Sachs, an audience member praised actor Peter Pasco for his portrayal of Whalid, a young Mexican-American man with no claim to his own heritage. Pasco responded to the audience member, expressing the difficulty that many first-generation and second-generation Americans have with the culture of their families, especially when visiting their “home countries”. As I clearly remember him explaining his own experiences in relation to Whalid’s in the talkback, “When I’m here in the United States, everyone sees me as Peruvian, even though I feel that I’m American. But when I’m in Peru visiting my family, I don’t feel like a Peruvian at all.” His words deeply resonated with me, as a first-generation Filipino-American. Getting to see a character like that onstage, as well as hearing the actor speak about it so eloquently afterwards, was a very special feeling.
It was sad to see such a beautiful piece as My Mañana Comes in its closing weekend, but I felt lucky to be apart of one of the many audiences that got to see such a powerful piece at the Fountain, with an unbelievable cast bringing such an important story to life. One of the most inspiring things to see after the show was all of the people in the audience who were clearly so moved by the performance; there was one woman behind me who clearly wanted to express her gratitude to the actors for sharing such an important story, but she was far too overcome with emotion. There were countless people around me who made a point of thanking the actors and the Fountain Theatre for bringing such an important and relevant piece to audiences in this community, and I was again reminded of the magic and power of live theatre, and all it can do to bring communities together through art and storytelling.
New York based playwright Elizabeth Irwin will be attending our hit LA Premiere of her play My Mañana Comes on Saturday May 14th at 8pm. Immediately following the performance, Irwin will be joined by the cast and director for a Q&A Talkback discussion with the audience.
My Mañana Comes is set in the frenzied kitchen of a fancy New York restaurant toiled by four busboys — three Mexican, one African American. The funny and fast-moving new play dramatizes such timely issues as immigration, undocumented workers, fair pay for labor, and chasing the American Dream.
Pablo Castelblanco, Lawrence Stallings and Peter Pasco
Elizabeth Irwin was born in Worcester, raised by Brooklyn and Mexico City. She was a 2013-14 Playwrights Realm Writing Fellow and is a member of the Public Theater’s 2015 Emerging Writer’s Group. Her play My Mañana Comes received its off-Broadway debut in September 2014 at the Peter Jay Sharp Theater as Playwright Realm’s Page One Production. She continues her work with Playwrights Realm as their 2014-15 Page One Resident Playwright. She was a member of the 2012-13 Soho Rep Writer/Director Lab. Elizabeth is a graduate of Amherst and Harvard and works in the New York City public schools. She is also a pretty great procrasti-baker.
Our Los Angeles Premiere of My Mañana Comes has earned rave reviews everywhere. The Los Angeles Times hails it as “engaging”, Broadway World calls it “wonderful” and Discover Hollywood demands “don’t miss this one!” The production has also been highlighted as Ovation Recommended.
On Saturday May 14th at 8pm, Elizabeth Irwin will be joined by actors Richard Azurdia, Pablo Castelblanco, Peter Posco, Lawrence Stallings and director Armando Molina for a lively post-show discussion. A wonderful evening of great theatre and good conversation with the artists. Join us! MORE INFO/Get Tickets
Lawrence Stallings, Pablo Castelblanco, Richard Azurdia, Peter Pasco
Enjoy these new production photos from our LA premiere of My Mañana Comesby Elizabeth Irwin, directed by Armando Molina. Starring Richard Azurdia, Pablo Castelblanco, Peter Pasco and Lawrence Stallings. Tonight is our final preview. We officially open tomorrow night, Saturday April 16th.
In My Mañana Comes four busboys in the kitchen of an upscale restaurant learn the hard way how to deal with pay cuts that could jeopardize their dreams for a better life, their dignity and their friendship. Fast-paced, hip and funny, the play brings to colorful life the camaraderie, sharing of dreams, competition and traitorous backstabbing that climaxes with a powerful dramatic turn at the end. Immigration, the minimum wage crisis, rights for undocumented workers, and citizenship lie at the center of this fast-moving, funny and powerful new LA premiere that examines the true meaning of ”home” and how far we’re willing to go to get there.
Photos by Ed Krieger
My Mañana Comes Now playing to June 26 (323) 663-1525MORE
Though Tanya Saracho is 35 and has lived in the United States since she was 12, she still isn’t a citizen, holding only a green card. Deeply grateful to the United States for the life she’s lived here so far, she finds the citizenship process now administered by the Department of Homeland Security a bit daunting.
Born in the northwestern Mexican state of Sinaloa, she grew up in the adjoining border towns of Reynoso, Mexico, and McAllen, Texas; her father still works on the Mexican side. Saracho has been tentatively crossing borders ever since, including literary borders — among contemporary Latino literature, classical Spanish plays and even Russian classics.
Hollywood’s Fountain Theatre is presenting her play El Nogalar (The Pecan Orchard), based on Chekhov’s The Cherry Orchard, starting this week. (The play premiered last year in a joint production between Teatro Vista and the Goodman Theatre in Chicago.)
“When I was in school, I didn’t get exposed to Latino playwrights,” Saracho explains. “I got exposed to [Spanish classical author] Lope de Vega, but not the modern ones. When they introduced Chekhov, we read The Cherry Orchard. I kept saying, ‘Oh my God, this guy is Latino. The women, the way they lamented, the way they whined, it seemed very Latino to me.”
Saracho moved to Chicago because of its reputation as a serious theater town, and there she formed her own company, Teatro Luna, where she mostly performed solo shows. At one point, she says, “I said, ‘In this company, we’re going to adapt The Cherry Orchard to Latino.’ ” Eventually the more established Teatro Vista company got involved and helped make it happen.
Diana Romo, Yetta Gottesman, Isabelle Ortega in "El Nogalar"
In her adaptation, she says, “I got rid of the dudes. I never understood what the dudes did. The first version was all women. Lopahkin can’t touch the women because of the class thing,” referring to the grandson of a serf kept at a distance by the play’s aristocrats as “vulgar.” “So I consigned him to monologues.”
But it was the maid, Dunyasha, who became the playwright’s obsession — “how she became a survivor,” Saracho says, after having been jilted by the servant Yasha, who doesn’t appear in Saracho’s version. “Yasha could have been a coke-head, I guess, but I cut out all the men.”
The play is in English, but peppered with Spanish and Spanglish. “Nobody’s going to miss a thing,” she says.
The bank doesn’t foreclose on the orchard, as it does in Chekhov’s play. Rather, a drug cartel causes the family to part with the property.
Saracho plans to stay in L.A. for a while, thanks to a literary agent and the hope of another border crossing — from theater to TV and film.
IN reviewing the ebullient play “Kita y Fernanda” in 2008, a Chicago critic called its young author, Tanya Saracho, “the Chicana Chekhov” for her deft blend of comedy and drama. It’s hardly surprising, then, that her loose adaptation of Chekhov’s “Cherry Orchard,” titled “El Nogalar,” is set against the bloody backdrop of Mexico’s drug wars.
But the story behind Ms. Saracho’s rise from scrappy storefront theaters to national stature is, like the playwright herself, more complicated than that clever, alliterative epithet would suggest.
For starters, though Ms. Saracho happily accepted the Chekhov comparison, she doesn’t identify as Chicana — a self-assigned term associated with a particular West Coast Mexican-American sensibility. She doesn’t even consider herself Mexican-American. A native of the northwestern Mexican state of Sinaloa and raised mostly in the border towns of Reynosa, Mexico, and McAllen, Tex., Ms. Saracho, 34, is a green-card-carrying Mexican citizen living in the United States still torn about joining the country she’s called home since 1989.
Her long-standing ambivalence isn’t just a matter of paperwork; literal and figurative borders fire Ms. Saracho’s best writing. The title characters of the autobiographical “Kita y Fernanda” are the daughters of the live-in maid and the woman of the house, respectively, who grow up together over treacherous fault lines of class and language. In 2009’s “Our Lady of the Underpass” Ms. Saracho turned a series of interviews with a diverse group of Chicagoans into a suite of monologues about an image of the Virgin Mary allegedly sighted on a concrete wall under the Kennedy Expressway.
And in “El Nogalar,” which translates as “The Pecan Orchard,” Ms. Saracho has set Chekhov’s final play amid the violence that has enveloped Mexico’s northern states.
“Every time we go home, it’s all we talk about, because it’s all there is,” Ms. Saracho said. “Right now we’re held hostage by this thing. It’s so complicated that it has no name, but we all know what we’re talking about.”
She was talking at a cocktail party, “and I was like, ‘The most Latino playwright I encountered in college was Chekhov,’ and then someone took me up on it,” said Ms. Saracho, whose conversation spills out in digressive torrents that might brand her as a fresa, the Mexican version of a Valley Girl, but for the heady subject matter.
According to Cecilie Keenan, who is directed the world premiere at The Goodman Theatre in Chicago, what links “The Cherry Orchard” to “El Nogalar” is the jarring spectacle of reverse migration.
“I asked Tanya: ‘What about the fact that our economy’s kind of tanking now? Aren’t rich Mexicans going back home because there’s nothing to do here?’ ” Ms. Keenan said. “And she was like, ‘You know, they are.’ ” So the return of Chekhov’s debt-ridden Madame Ranevsky from Paris to her soon-to-be-auctioned Russian estate becomes, in Ms. Saracho’s play, the story of Señora Maite, alighting obliviously at her family home in northeastern Mexico, where nothing so gentle as an auction threatens the property.
In Ms. Saracho’s compressed time frame the local drug mafia steadily tightens its grip over a few urgent days, compared with the fateful ebbing summer of “The Cherry Orchard.” And, in a marked departure from Chekhov’s famous dictum that a gun shown in a play’s first act must be fired in the second, “El Nogalar” features this sassy stage direction: “Lopez goes for his piece. Yes, old boy is packing, O.K.? But just don’t make a big deal out of it ever. This is just what the men do now.”
Like many young theater artists Ms. Saracho moved to Chicago for its reputation as a no-nonsense stage town and helped form a small company, Teatro Luna, to create work — in her case, frank, funny monologues inspired by her own experiences. But her ambition and achievement quickly outpaced the solo format. The way she tells it, she was plucked from a happy fringe career by the city’s larger institutions; the way others tell it, her potential practically forced them to act.
“She’s the first really viable local Latino playwright we’ve had,” said Henry Godinez, a co-founder of Teatro Vista, who joined the Goodman’s artistic staff in 1996 and has remained a bridge between the two companies. In 2008, with the encouragement of mentors like Mr. Godinez, Ms. Saracho had assignments from Chicago’s two biggest theaters: “Our Lady of the Underpass,” which the Goodman commissioned and Teatro Vista produced, and an adaptation of Sandra Cisneros’s “House on Mango Street” for Steppenwolf TheaterCompany.
With these gains in profile came some wrenching transitions. She quit Teatro Luna a year ago, a decision that still clearly pains her. And she’s now working on plays that will feature no Latino characters: a commission from About Face, Chicago’s gay-oriented theater, for a play about the transgender Civil War soldier Albert Cashier, for which Ms. Saracho received a $20,000 grant from the National Endowment for the Arts, and a commission from Steppenwolf to write a play for its mostly white acting ensemble.
Tanya Saracho and playwright Luis Alfaro, serving as dramaturg on the Fountain production.
“Tanya is now facing the idea that she’s going to have a national role,” said Polly Carl, Steppenwolf’s director of artistic development. “She realizes the unfortunate, in a way, responsibility she is taking on. No playwright should have to take on the voice of a people. What we’re telling her is that she can write about anything.”
What Ms. Saracho seems destined to write about, no matter the place, is socioeconomic class. Raised comfortably in an upper-middle-class family, she said she didn’t confront prejudice against Mexicans — or the troubling notion that she was exempt because of her privilege and her fair skin — until she moved to Chicago. In part that’s why Ms. Saracho has beefed up the role of the social-climbing character of Dunyasha in “Cherry Orchard,” renamed Dunia in her play.
“Dunyasha became my obsession,” Ms. Saracho confessed. “Dunyasha wants to be white, and we have that whole race shame in Mexico. You don’t even say it. It just is. When you see who’s serving who, who’s in power, it’s evident. I don’t look at it when I’m down there, but when I look at it with binoculars from up here, I do.”
El Nogalar Fountain Theatre Jan 21-March 11 (323) 663-1525 More Info