In the documentary film, Backside, director/ filmmaker Raúl O. Paz-Pastrana (Border South), has lovingly composed a poetic meditation about the immigrant workers who care, feed, and tend to the million-dollar race horses at the Kentucky Derby racetrack.

Because of its historical association with royalty and nobility, horse racing is often called “the sport of kings.”In the horse racing caste system at the top are the horses, jockeys, owners, and gamblers, followed by the trainers, and beneath them, the workers who work for the trainers.

Pastrana skillfully uses a minimalist, cinema vertité approach to his film to imbue the workers with an aura of grace and nobility of their own.

There is no celebrity narrative voice over or mood setting, ethnically tinged music with a guitar or piano. There are no long-winded testimonials detailing aspects of the story.

Instead, Pastrana slowly lets the story, with virtually no dialog, pictorially unfold and reveal itself naturally by observing the workers going through their daily routine in quiet elegance. Often, the scenes that show the workers doing their jobs are framed and composed in a painterly fashion that evokes Van Gogh’s representations of working-class people in his timeless and iconic artwork.

The deep emotional attachment depicted in the film between horse and worker is one of the more touching and effective storylines of the film. In one scene, a curious wife asks her husband why he gives the horse candy.

“Because he’s my friend,” he whispers to his wife.

In the opening scene, we watch as a horse is being taken onto a ramp from a trailer. In the final scene, the horse is led up a ramp into a trailer to travel south. The scenes act seamlessly as cinematic bookends for the whole documentary.

Pastrana, a Mexican immigrant from Chihuahua, Mexico, now living in Denver, Colorado, is intimately knowledgeable about the immigrant experience in America and the untold value immigrants bring to the U.S. economy. In this unfortunate era of ICE raids and a Mass Deportation agenda, Backside is a gentle but persuasive reminder of the important and often unknown contributions of the immigrant community to America.

The Kentucky Derby Race is often described as the most exciting two minutes in sports.” Pastrana’s moving documentary, Backside, shows us the thousands of hard-working, tireless, dedicated  hours that go into making those “two exciting minutes.”Backside premieres on PBS, Monday, April 13. Check your local listing for times.

Independent Lens: Backside (2026) can be watched primarily on PBS.org and Free PBS App . It is also available for on-demand streaming for PBS Passport members and will have broadcast airings on various local PBS stations and the World Channel.

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“The Cesar Chavez Foundation has become aware of disturbing allegations that Cesar Chavez engaged in inappropriate sexual behavior with women and minors during his time as President of the United Farm Workers of America (UFW).

Little by little, the news has been emerging, with articles online increasing by the hour.

The media is doing what they do best, reporting on what information they have and digging for more. But the New York Times has been working on this story for years, and that story was set to publish on Cesar’s Birthday, March 31. We are sure a lot more details on, yet again, another incident of alleged “inappropriate sexual behavior with women and minors”.

If these allegations are true, the focus should always be the victims. It is a hard time for all. It will also be hard on our community as a revered hero is taken down.

Filmmaker, Writer and Humanitarian Border Relief Volunteer, David Damian Figueroa and Latin Heat Founder, Bel Hernandez Castillo, both very active and with deep ties to the community, penned a letter addressing this news. We hope you will share the sentiment

A Path Forward with Hope and Faith

There is no doubt that this is a devastating turn of events, and is heavy on our minds and spirits. No doubt, the mainstream news, the current political climate, gossip, innuendo, and finger-pointing will be ramped up on social media and in the mainstream news. 

We must prepare. Our future will be difficult to navigate, and this news is not just any conversation; it is a pivotal moment in Chicano/Mexicano history—one that could reshape our collective future. 

We urge every Latino to create an environment that radiates kindness and respect as they move forward. Let us create spaces that are sanctuaries for truth-telling, allowing everyone to express themselves and process this devastating news while also protecting one another. 

The way forward for the Latino community will depend on our working together so that a spirit of honor and collaboration emerges from respectful dialogue. What we do now will be a defining moment for us all. The narratives we craft today will echo through time, and unity will be our greatest strength in the days to come.

Our young people will look to us—trusting that we will help carry the weight of this responsibility with grace, integrity, and forgiveness. Hope is what we need to foster, and it starts with your willingness to engage thoughtfully, compassionately, and with purpose. 

Each of us has the power to inspire and lead. Let this moment be the spark that ignites a brighter path forward with hope and faith.

David Damian Figueroa, Filmmaker, Writer and Humanitarian Border Relief Volunteer

Bel Hernandez Castillo, Founder, Latin Heat Media

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Since it’s world premiere performance at the Mission Cultural Center for Latino Arts in 1990, Josefina López’s signature play Real Women Have Curves has become a cultural touchstone—evolving from a celebrated stage play into an award-winning 2002 film and a Tony-nominated Broadway musical in 2025. This this spring it returns to Los Angeles with a new production at CASA 0101’s Gloria Molina Theater, running March 27–May 3, 2026, with select performances presented in Spanish. ¡Que suave!

Set in 1987 Los Angeles, Real Women Have Curves tells of five curvy Latinas working in a tiny sewing factory who are trying to meet an impossible production deadline while hiding from immigration.  Their determination, courage and juicy “chisme” (gossip) help them form a bond and discover their power.

Creator and playwright Josefina López still marvels at the lasting impact of her landmark work. “When I wrote the first words of Real Women Have Curves in March 1988, I felt divinely guided to share my story,” she said. “I never envisioned the lasting impact and topical relevance my words would have this many years later.” López began writing the play at 18, inspired by the humorous yet revealing experiences she recorded while working in her sister’s sewing factory in East Los Angeles. Channeling her frustrations with machismo, racism, Hollywood’s objectification of women, and her own experience as an undocumented young woman, she shaped a story that would connect deeply with audiences.

Looking back, López believes the play’s enduring appeal lies in its celebration of women’s lives and evolving identities. “It reflects the four stages of womankind, the challenges of transitioning to the next stage and embracing the natural and organic process of aging and coming into our own wisdom,” she said. Inspired by her mother, sister, and the women around her, López now sees the play as “a sacred dance of feminine energy and camaraderie” that helps liberate women from shame—especially about their bodies.

Real Women’s unique message of body positivity, strength in the face of oppression and the power of the immigrant dream has resonated so profoundly over the decades that it has had nearly 130 professional and regional productions.  

Thi six week run at CASA 0101 stars Stefany Arroyo (Ana García), Yasha Alaniz (Estela García), Bianca Araceli (Carmen García,)  Amy Melendrez (Rosalí), Laura Vega (Pancha)  – and featuring, on stage for the first time, the original sewing machine that once belonged to Josefina López’s late mother, Catalina Perales López, who was the model for the character of Carmen García.  So, this is a distinctive cast in a story that takes on new relevancy in these challenging times.   Creatives behind the curtain boasts a talented team of creatives, including set designer César Rentana-Holguín, lighting designer Alejandro Parra, costume designer Tony Iniguez, and graphic designer Itzel Ocampo.

Heading this powerful artistic team is CASA’s longtime associate, director Corky Dominguez talked about working with Lopez, “I have had the great pleasure of collaborating with Josefina López on many of her original plays by taking what she has written on the page and breathing life into her characters and words by realizing them on the stage.  He also find a deeper corrolation, given to what is happening in the world we are living in today, “The spot on poignancy of Josefina’s themes and plotline in Real Women Have Curves, laced with a heavy dose of humor, is undeniably pertinent, joyous and uplifting for our times.  This will be the take away for audience members who come to see our production!”

As an ardent fan of Ms. Lopez’s writing, this journalist is personally overjoyed that Real Women is returning to Los Angeles, the place where this story was born and where it can play to a hometown audience who’s always responded to its enduring message.  I’m also extremely excited to announce a very special upcoming event, titled, Curves in Concert taking place on March 20th at the Renée and Henry Segerstrom Concert Hall in Costa Mesa, California. This very special, one-time only performance will reunite members of the original Broadway cast of Real Women Have Curves:  The Musical as they sing selections from Joy Huerta and Benjamin Velez’s Tony Nominated score.  I caught the Broadway production and can highly recommend this special night directed and choreographed by Tony Award-winner Sergio Trujillo, who helmed the show in New York.  The concert will be followed by a talk-back with Ms. Lopez.

FOR ALL SHOW INFO: www.casa0101.org

Real Women Have Curves
Gloria Molina Auditorium at CASA 0101 Theater
2102 East First Street
Los Angeles, CA 90033

ENGLISH PERFORMANCES: Fridays & Saturdays @ 8:00 pm. on March 27 – May 3, 2026; Sundays @ 2:00 pm on March 29 & April 5, 2026; Sundays @ 7:00 p.m. on April 12, 19, 26 & May 3, 2026.  Playwright Josefina López will be doing a Talk Back after the Matinee performances on Sunday, March 29th and April 5th.
SPANISH PERFORMANCES: Sundays @ 2:00 p.m. on April 12, 19, 26 & May 3, 2026.  

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Los Angeles audiences will have an opportunity to witness art used as a powerful form of activism when Constance Marie and eight other actors take to the stage to read monologues inspired by true stories of families and communities affected by ICE.  Malice: Stories of Injustice, a special two-night theatrical event at the Odyssey Theatre Ensemble.

The monologues are inspired by real stories and written by Vivianne Nacif and Juan Pablo Oubina 
Directed by Vivianne Nacif.

Performances will be on March 10 at 8PM (Constance Marie will perform on this day) and March 11 also at 8PM. The performances feature nine monologues inspired by real-life stories of individuals affected by immigration enforcement actions. The fundraising event is designed inform and create community around the topic of immigration, not only as a theatrical experience but as a fundraiser with all proceeds going to help support and aid immigrant detained and/or their families.

Post-show discussions after each day’s performance will give the audience an opportunity to engage with the cast, writers, directors and discussions and learn what and where help will be provided for immigrants navigating the new challenges they face with ICE raids.

In addition to Marie, the actors (and the roles they will play) donating their time and talent to these two day charitable performances include:

Eduardo Enrikez – Francisco (Paletero) 
Angelines Santana – Linda (Tamalera) 
Alejandro Cardenas – Andry Hernandez (make-up artist) 
Iran Daniel – Alma (Home Health aid worker) 
Eduardo Enrikez – Marcos (Gardner) 
Constance Marie English performance only – Angeles (Agricultural worker) 
Vivianne Nacif   – Mariana (Jazmin’s mom) 
Alex Peña – Antonio (Daca Recepient-uber driver) 
Maria Jimena Gastelum -Sofia (US citizen College Student) 

All proceeds from the performances will benefit Mar Vista Voice and West Los Angeles Rapid Response Network, grassroots groups working on the front lines to provide legal aid, emergency response alerts, and community support for families impacted by ICE detentions.

The evening brings together actors who will portray the voices of individuals whose lives have been directly affected by immigration enforcement. Rather than statistics or headlines, the monologues present deeply personal narratives that reveal the human impact of policy.

“These monologues are based on are real people,” said Marie. “They’re not numbers or talking points. Many of them have lived in this country for decades and contributed enormously to the communities they live in.”

Marie will perform during the English-language performance on March 10, portraying an agricultural worker whose story reflects the experiences of many essential laborers. The Spanish-language performance will take place March 11, bringing the stories to Spanish-speaking audiences.

Among the characters represented are long-time residents, workers, and even a DACA recipient studying law whose life was disrupted by detention.

Art as Action

For Marie, whose decades-long career includes iconic roles in films like Mi Familia and Selena and starring as Angie Lopez on George Lopez (2002–2007) and Regina Vasquez on Switched at Birth (2011–2017) and most currently in TV showrunner Gloria Calderon Kellett’s With Love, working on Malice reflects her belief that storytelling can play a role in social awareness and community engagement.

“The antidote to despair is action,” Marie said. “People can protest, they can donate, they can post online — and this performance is another way to take action. Creative resistance is important right now.”

Audience members are encouraged to attend, bring friends, and engage with the community through the event and enjoy an evening is meant to be both moving and empowering.

For Marie, being part of this creative fundraiser is more than doing a monolough of another persons’ real life experineces with ICE — it is personal. “The hardest part for me is being in a country where I am a citizen but because the color of my skin i’m asked for my papers. I’m indigenous but because i’m brown I have to worry about the racial profiling that’s happening.”

Malice: Stories of Injustice performances will take place at the Odyssey Theatre in Los Angeles with two performances:

• March 10 — English-language performance (featuring Constance Marie)
• March 11 — Spanish-language performance
• Time: 8:00 PM

Tickets and donation information can be accessed through Constance Marie’s Instagram, @GoConstance, where a link and QR code are available for purchasing tickets or contributing to the cause, or at The Odyssey Theater website. Donations can also be made online at the Odyssey Theater Support Page, However, make sure to to indicate your donation is restricted funds to be used only for Malice charities.

Marie leaves us with an ecnouraging thought, “Right now many people feel overwhelmed. But community is the answer. Remembering our humanity and our shared stories are essential.”

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Now in its 13th year, the annual celebration of Latina-directed cinema will present Merino with the Lupe Ontiveros Award on Opening Night, while Riggen will receive the Maverick Award. Both honors spotlight Latina leaders whose work has reshaped representation, storytelling, and opportunity across the entertainment industry.

Yvette Merino to Receive Lupe Ontiveros Award

Merino, producer at Walt Disney Animation Studios, will be honored for a career defined by artistic excellence and trailblazing achievement. The Lupe Ontiveros Award—named after the late actress who paved the way for generations of Latina performers—recognizes women whose careers demonstrate courage and a sustained commitment to expanding representation in film.

Merino made history as the first Latina to receive the Academy Award for Animated Feature for producing Disney’s Encanto. Over her 25-plus years at Disney Animation, she has served in key production roles on blockbuster titles including Tangled, Wreck-It Ralph, the Oscar-winning Big Hero 6, and Oscar-nominated Moana.

Following Encanto, Merino earned an Emmy Award for producing the short film Once Upon a Studio and served as producer on Moana 2. She is currently producing Zootopia 2. Beyond the screen, Merino was also instrumental in launching Voces@Disney, the studio’s first Latino employee resource group, serving as co-president for two years.

Patricia Riggen to Receive Maverick Award

Riggen will be presented with the Maverick Award, honoring a filmmaker whose body of work has challenged dominant narratives while bringing underrepresented stories to global audiences with authenticity and emotional depth.

Widely regarded as one of America’s leading female directors, Riggen’s feature credits span genres and scale. Her recent action thriller G20 stars Viola Davis, while earlier work includes Sundance breakout feature Under The Same Moon/La Misma Luna and Sony Pictures’ box-office hit Miracles from Heaven starring Jennifer Garner.

Her television directing credits include multiple episodes of the Emmy-winning limited series Dopesick starring Michael Keaton, as well as season one of Tom Clancy’s Jack Ryan.

A graduate of Columbia University School of the Arts, Riggen’s early short film work earned a Student Academy Award, Student Emmy, and Mexican Academy Award. She later directed Lemonade Mouth, which received a Directors Guild of America nomination, and the Chilean mining drama The 33 starring Antonio Banderas and Juliette Binoche—a production that required 30 days of filming underground in active mines.

Originally from Mexico, Riggen remains one of the few women of color to have directed top-grossing studio features in the past decade and continues to mentor emerging Latino filmmakers.

Festival Leadership and Mission

LIFE is led by Festival Directors Iris Almaraz and Cristina Nava, whose shared focus on community engagement, equity, and independent film continues to define the festival’s growth. Nava, a veteran independent producer and cultural organizer, brings decades of experience championing socially conscious storytelling and grassroots arts advocacy. Together, Almaraz and Nava position LIFE as both a platform for exhibition and a space for mentorship, networking, and long-term career development.

Founded thirteen years ago by screenwriter and playwright Josefina López (known for writing the groundbreaking film and Broadway play Real Women Have Curves), the festival was built on the belief that representation matters and that diverse voices strengthen the cinematic landscape.

In addition to screenings, the 2026 edition will feature panels, workshops, and networking sessions connecting emerging Latina directors with industry leaders and resources. LIFE is a fiscally sponsored project of the National Association of Latino Independent Producers (NALIP).

Tickets and full programming details are available at www.LIFEFilmFestLA.com.

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Vinícius Costa da Silva never planned to become opera’s favorite dark presence. Offstage, he’s warm, joyful, quick to  laugh. Onstage, the 6’3″, curly-bearded Brazilian commands priests, rogues, and powerful men  with effortless authority. That contrast — sunlight personality, shadow roles — is part of the  intrigue. And so, Brazil’s 2026 winning streak continues with a São Paulo native commanding the stage at LA Opera’s epic production of Akhnaten direccted by Philip Glass.

Costa’s journey from São Paulo’s working-class East Zone to LA Opera feels like destiny with a  strong assist from grit. The path wasn’t linear. It rarely is. 

Like many musicians, it began with curiosity. Costa was first drawn to the “funny-looking”  French horn, fascinated by its shape. The real turning point happened somewhere far less  glamorous — a school restroom. A classmate overheard him singing and told the choir master,  “He can sing!” Costa was suddenly doing solos. 

“Back then, I was just a curious kid trying different things. But after I sang for the choir master,  that’s when I found my true voice.” Support followed — slowly, then fully. 

“I had a very good family: my mom Marina Costa, brother Pedro were big supporters and my  father Zorandir Ramos — after a while when he realized that I could make some beautiful sound,  he got courage enough to come and listen to me then he started supporting me also.” 

From choir boy to opera stages, Costa’s trajectory reads like a sequence of doors opening — each earned. Mentors guided him from Brazil to Basel, where he completed bachelor, master’s  and post-master’s degrees, before arriving at LA Opera’s Domingo-Colburn-Stein Young Artist  Program. Akhnaten marks his fifth LA Opera role — with more ahead. 

Two early figures remain foundational: Maria Lúcia Waldow and retired baritone-turned-teacher Francisco Campos. 

“I treat them like Sensei,” Costa says, recalling lessons after school and how Campos would feed  him when he arrived hungry. Waldow’s message was constant: discipline, standards, no  shortcuts. “She was always telling me you don’t sacrifice quality!”  And: “You have to practice — a lot!” 

Costa smiles. “They not only taught me to sing but taught me what it means to be a  professional.” 

That seriousness toward craft defines him. Costa doesn’t approach roles technically — he  approaches them anthropologically. Languages, history, psychology — all part of the  preparation. German, French, Italian, Spanish, English — and the cultural codes behind them.

“Opera isn’t just about hitting the right notes — it’s about understanding the meaning behind the  words,” Costa said. “When I sing in a new language, I dive deep into its culture. I watch films,  listen to native speakers, to immerse myself as much as possible. I want to give the character the  depth it deserves.”  It shows. 

Whether as Aye in Akhnaten — father of Nefertiti and advisor to the Pharaoh — the Duke in Roméo et Juliette, or the Speaker in The Magic Flute, Costa specializes in dimensional authority.  Villains with interior life. Power with psychology. 

“The bass is often the villain, but I don’t play him as just evil. I try to find what makes him tick,  what makes him real.” 

Offstage, the intensity softens. Costa remains disarmingly grounded — curious, hardworking,  visibly grateful. The Young Artist Program at LA Opera plays a major role in that evolution. 

“LA Opera has been an amazing place to grow,” he says. “Everyone here does their job at such a  high level, and we’re treated with so much respect. It’s a place where artists are encouraged to be  their best, but they also feel supported. It’s been the perfect environment to learn and improve.” 

And yet, the perspective remains intact. 

“I never expected to be here,” Costa says. “I grew up in a place where classical music was rare.  But thanks to opportunities like the Guri Santa Marcelina program, which brought music into  communities that lacked access, I was able to find my path. Music was never ‘supposed’ to be a  part of my life, but now it’s everything.” 

Representation matters — and Costa understands the symbolism. 

“I’m incredibly proud to represent my country. Brazilian culture is rich, vibrant, and full of heart,  and I feel like the world is finally recognizing it.” 

The next chapter is already unfolding. This season includes Falstaff, one of his favorites. “It’s just so joyful, so playful, and it has some of the most beautiful music. I’ve always wanted to  be a part of it, and now I get to live that dream.” 

Looking ahead, Costa is drawn to roles with philosophical weight — darker edges, psychological  complexity, the devilish spectrum opera does so well.  Which brings us back to the title: Sweet Villainy. 

For Vinícius Costa da Silva, the tension between warmth and shadow isn’t a contradiction. It’s  the instrument. And LA Opera audiences are just beginning to hear its full range.

Akhnaten returns after 10 years to the Dorothy Chandler Pavilion, with performances running from February 28 to March 22, 2026. This revival features countertenor John Holiday in the title role and is conducted by Dalia Stasevska in her company debut

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Buena Onda Presents has unveiled the star-studded lineup for the 2026 edition of Festival La Onda, returning May 30–31 to the Napa Valley Expo in the heart of downtown Napa. Headlining this year’s two-day Latin music celebration are Maná, Ivan Cornejo, J Balvin, and Christian Nodal, leading one of the most dynamic Latin festival lineups in the country.

Timed for the weekend following BottleRock Napa Valley, La Onda delivers a premium festival experience spotlighting the hottest Latin artists across genres including Mexican Regional, Reggaeton, Rock, Hip Hop, Latin Pop, Salsa, and more. The 2026 lineup also features Danny Ocean, Los Tucanes de Tijuana, Los Fabulosos Cadillacs, Paulo Londra, La Arrolladora, El Gran Combo de Puerto Rico, Grupo Niche, Molotov, Orishas, Chiquis, Kinky, Ozomatli, and dozens of rising and established acts.

Beyond the music, Festival La Onda offers a fully immersive experience complete with curated Latin cuisine, specialty beverages, shaded lounges, spa activations, a dance club, silent disco, and elevated viewing areas — all infused with Napa Valley’s signature hospitality.

Premium ticket options elevate the weekend even further. VIP guests enjoy access to the VIP Village with premium bars, shaded seating, air-conditioned restrooms, and prime sightlines. El Mirador offers elevated decks with all-inclusive drinks and shaded lounges, while Suite and Platinum Experiences deliver unmatched luxury, including private viewing areas, concierge services, premium dining, and front-row access.

Weekend and single-day tickets are on sale at LaOndaFest.com. General Admission weekend passes start at $218, VIP at $448, El Mirador at $1,287, and Platinum at $3,318, with flexible layaway plans available.

For updates, visit LaOndaFest.com, sign up for text alerts, and follow @LaOndaFest across social platforms.

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Blacktinidad is a signature LatiNation series that celebrates the diversity and richness of the Afro-Latino experience, offering a platform where stories of identity, resilience, and joy take center stage. Through bold storytelling and authentic representation, the series has cultivated a loyal and growing audience across television, streaming, and social platforms.

Hosted by Eliana, the episode follows her return to Puerto Rico for an immersive journey into the island’s Afro-descendant traditions, centering on Loíza, widely regarded as the heart of Afro-Puerto Rican culture. Her visit begins at Taller de N’Zambi, where she explores the rhythms and movement of Bomba de Loíza, one of Puerto Rico’s most powerful and historically rooted musical traditions.

The special also features an intimate visit with legendary culture bearer Raúl Ayala, whose family has preserved the artistry, history, and traditions of Bomba for more than seven decades. Eliana further dives into the cultural significance of Puerto Rico’s iconic Vejigante masks, before closing the episode at El Kiosko La Comay, a beloved Loíza institution known for its traditional cuisine and deep community roots.

The special underscores LatiNation Media’s commitment to culturally driven programming that reflects the lived experiences of U.S. bilingual and bicultural Latinos. The award-winning media company operates LATV, the independent cable network reaching 81% of U.S. Hispanic households in the top 47 DMAs, along with LatiNation FAST, the LatiNation+ app, and a robust in-house production studio. Its content spans linear TV, FAST/AVOD/CTV, digital, and social platforms.With its Black History Month Blacktinidad special, LatiNation continues to amplify Afro-Latino voices and stories, reinforcing its mission to serve as a cultural connector across the Black and Latino diaspora.

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The Circle, a tragicomic theater production by playwright Stacey Martino Rivera, delivers a deeply emotional, thought-provoking, and often disarmingly funny exploration of family grief, identity, and reconciliation. Directed with sensitivity and imaginative scope by D.W. Jacobs, and featuring original music by Germaine Franco, the production resonates long after the final bow.

Set over one chaotic weekend in Texas, The Circle brings together three generations of the Medinas and Mahoneys families. What unfolds is not merely a family drama but a mirror reflecting America’s fractured emotional and political landscape. Through moments of absurdity, tenderness, and piercing confrontation, the play suggests that truth itself is subjective — that every character holds their own version of reality, each equally valid. In this way, The Circle invites empathy rather than judgment, urging audiences to expand their capacity for understanding rather than retreat into certainty.

This is an introspective work that challenges easy answers. The emotional core of The Circle rests in its insistence that exclusion of any lived truth is itself invalid. Rivera’s writing insists that reconciliation, not punishment, must guide our approach to harm, conflict, and healing — a message that feels particularly urgent in today’s social climate.

The cast delivers uniformly powerful performances, but two stand out for their depth, control, and emotional honesty: Michael Brainard as Bud Ireton and René Rivera as José Medina. Their performances anchor the production, providing a masterclass in restraint and emotional precision. What makes their work especially compelling is the raw authenticity they bring — never overplayed, never forced — allowing moments of vulnerability to emerge naturally and profoundly.

René Rivera, a Lifetime Member of The Actors Studio, brings extraordinary gravitas to José Medina. His distinguished career spans Broadway, Off-Broadway, television, and film, including collaborations with Al Pacino, Kevin Kline, Anne Bogart, and Stephen Berkoff. Here, Rivera channels decades of craft into a performance that is both intimate and commanding. 

Michael Brainard’s Bud Ireton is equally compelling — layered, conflicted, and achingly human that demands his voice be heard.  Brainard, known for his work in All My Children, Santa Barbara, and numerous film and television projects, creates a character whose emotional evolution feels deeply lived-in and profoundly sincere.

The ensemble is solid across the board. Alma Martinez delivers a deeply moving performance as the dying matriarch Eva Medina, embodying both fragility and fierce emotional presence. Victoria Ratermanis as Molly Medina, Lisa Richards as Maeve Mahoney, and Jeanette Godoy as Mary Padrón each bring nuance and emotional complexity to their roles. Ava Rivera and Luna Rivera, portray Anna Medina at ages sixteen and twelve respectively, offering remarkable emotional maturity and authenticity. Lakin Valdez rounds out the cast with a strong and revealing performance as Ronnie Medina.

Martino Rivera explains that she wrote The Circle as an act of healing — for herself, her family, and ultimately, for a society fractured by polarization. The play’s exploration of racial justice, environmental justice, immigration, restorative justice, and belonging unfolds organically, never feeling didactic. 

Director D.W. Jacobs, drawing on decades of work with epic literary traditions — from Dickens to Dante — Jacobs infuses the play with a spiritual and emotional architecture rooted in memory, cyclical time, and transformation. 

The Circle is a rare theatrical experience — emotionally raw yet humorously alive. It does not offer easy conclusions. it opens a space for reflection, empathy, and perhaps, transformation.

Verdict:The Circle is powerful, courageous theater — urgent in its themes, exceptional in its performances, and essential viewing for audiences seeking art that challenges, heals, and inspires.

The production is dedicated to the late C. Raul Espinoza, posthumous producer of the play, whose legacy of community engagement and cultural advocacy is deeply felt throughout the evening.

The Circle will continue to play at the Greenway Court Theatre, 544 North Fairfax Avenue (at Melrose Avenue), Hollywood, CA  90036 on Fridays and Saturdays at 8:00 p.m., and Sundays at 2:00 p.m. The show will be playing for the remainder of the run on  Fridays, February 13 and 20 at 8:00 p.m., Saturdays, February 20 and 28 (a added Bonus performance) at 8:00 p.m., and Sundays at 2:00 p.m., February 15 and 21. Saturday, February 14th, Valentine’s Day, will be dark.

For further information and to buy tickets online, please visit https://greenwaycourttheatre.org  Tickets can also be purchased by E-mailing boxoffice@greenwayartsalliance.org or calling the Greenway Court Theatre at 323-655-7679, ext. 4.

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SUNDANCE SPOTLIGHT

The 2026 Sundance Film Festival will shine a long-overdue national spotlight on one of the most influential cultural architects in American history: Luis Valdez. With the world premiere of American Pachuco: The Legend of Luis Valdez, Latino Public Broadcasting (LPB) cements Valdez’s towering legacy as a revolutionary artist who transformed theater, film, and the visibility of the Mexican-American experience—while also affirming the vital role of public broadcasting in preserving Latino cultural memory.

Directed, written, and produced by David Alvarado, American Pachuco is far more than a biographical documentary. It is a cultural reckoning—charting how Valdez reshaped the American stage and screen by insisting that Chicano stories were not peripheral, but central to the national narrative.

From the Fields to the Forefront of American Theater

Valdez’s story is inseparable from the Chicano Movement itself. In 1965, alongside the United Farm Workers, he founded El Teatro Campesino, a theater company born not in traditional playhouses but in the fields—using satire, music, and performance as tools of protest, education, and empowerment for farmworkers demanding dignity and justice.

That radical foundation led to one of the most consequential theatrical moments in U.S. history. Zoot Suit originated at the Mark Taper Forum in Los Angeles, where it became an undeniable hit, electrifying audiences with its bold fusion of American Latino music, movement, history, and political urgency. The production was so successful that it made history—transferring to Broadway in 1979, marking the first time a Chicano playwright’s work appeared on the Great White Way.

In a rare and telling testament to its cultural impact, Zoot Suit didn’t simply move east. While one company made its groundbreaking Broadway run, a second cast remained in Los Angeles, where the show continued at the Aquarius Theatre, running for nearly a full year. The dual productions underscored something unprecedented: Chicano theater was no longer a niche movement—it was a mainstream cultural force commanding audiences on both coasts.

Edward James Olmos: A Full-Circle Cultural Moment

Central to Zoot Suit’s legacy—and to American Pachuco—is Edward James Olmos, whose star-making role as El Pachuco was written by Valdez and became one of the most iconic performances in American theater. The role launched Olmos’s career and redefined the possibilities for Latino actors at a time when such opportunities were nearly nonexistent.

Decades later, Olmos narrates American Pachuco not only as a collaborator and witness, but as co-founder and Chairman of the Board of Latino Public Broadcasting, the organization that partially funded the documentary. The symmetry is profound: a playwright who opened doors for an actor, and an actor who now ensures those doors remain open for future generations of Latino storytellers.

“Now more than ever, it’s crucial that we give a voice to our Latino filmmakers and make sure that our stories are heard,” Olmos said. “While these two films are very different, both of them celebrate how art can lift individuals and communities and bring about real transformative change.”

A Definitive Portrait of a Cultural Revolutionary

Winner of the Library of Congress Lavine/Ken Burns Prize for Film, American Pachuco: The Legend of Luis Valdez features extensive interviews with Valdez, offering rare insight into his artistic philosophy, political consciousness, and lifelong commitment to cultural truth-telling. The film positions Valdez not only as a playwright and filmmaker, but as a cultural architect whose influence reshaped the American artistic landscape.

The documentary is a co-production of Insignia Films, ITVS, Latino Public Broadcasting, and Firelight Media, in association with American Masters Pictures and PBS, with funding provided by the Corporation for Public Broadcasting. It will premiere nationally in Fall 2026 as a co-presentation of VOCES and AMERICAN MASTERS, placing Valdez among the most essential artists ever profiled in the series.

LPB at Sundance: Expanding the Latino Story

Latino stories are foundational to American culture, not footnotes. And at the center of that truth stands Luis Valdez—a visionary who proved that telling our own stories is an act of resistance, celebration, and transformation.With American Pachuco: The Legend of Luis Valdez, Sundance 2026 does more than honor a filmmaker. It honors a movement—and a legacy that continues to shape every Latino story told on stage and screen today.

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