There are love stories—and then there are Love Struck.

In this daring, funny, and emotionally layered theatrical production, audiences are invited into the intimate world of Rachel and Laura—two women whose passionate romance has evolved into something deeper, more complicated, and ultimately more mundane. One American, the other Cuban, their relationship becomes a prism through which questions of ambition, identity, and belonging are explored with wit and candor.

At the center of it all is Odalys Nanin—a powerhouse in the Latinx and LGBTQ theater communities—who co-writes, co-directs, and stars as Laura. With a career spanning more than two decades, Nanin has built a reputation not just for provocative storytelling, but for consistently delivering award-winning work that resonates across cultures and communities.

A Story of Passion—and Its Aftermath

Rachel (played by Lizette Santiago) and Laura have been together for three years. What began as a whirlwind of “white-hot lust” has settled into a comfortable domestic life in Los Angeles. Their relationship is playful and adventurous—they experiment with role-playing, cosplay, and erotic accessories—but beneath the surface, tensions are building.

Laura’s professional success contrasts with Rachel’s growing insecurities. As Rachel yearns to match her partner’s accomplishments, she also begins to feel the pull of her roots in New York. What emerges is a deeply relatable question: Can love alone sustain a relationship when ambition, identity, and longing pull in different directions?

A Legacy of Theatrical Excellence

Nanin’s body of work reads like a canon of bold, unapologetic storytelling. From Frida: Stroke of Passion to Garbo’s Cuban Lover and The Nun and the Countess, her plays have pushed boundaries while celebrating complex, often underrepresented voices. Her honors include the prestigious Nancy Dean Playwriting Award, and her influence extends beyond the stage as the Founder and Producing Artistic Director of Macha Theatre/Films.

Her continued success is no accident. Nanin has a rare ability to merge sensuality, humor, and cultural identity into narratives that feel both intimate and universal. With Love Struck, she revisits one of her earliest works—first produced in 1997—and reintroduces it to today’s audiences with renewed urgency and relevance.

A Dynamic Creative Team

Joining Nanin is co-director Angela Nicholas, a multi-hyphenate talent who brings experience as an actor, choreographer, playwright, and designer. Her previous collaboration with Nanin on Garbo’s Cuban Lover adds a layer of creative synergy to the production.

Co-writer Marie Barrientos, known for her work on Law & Order and Another World, contributes a nuanced perspective that enriches the script’s emotional depth and authenticity.

Meanwhile, Santiago brings both vulnerability and strength to Rachel—a role that reflects her own award-winning trajectory, including recognition at the Short and Sweet Hollywood Festival and standout performances in La Wija and Whiskey Hollow Road.

A Pioneering Story—Then and Now

When Love Struck first premiered in 1997, it broke ground as a lesbian romantic comedy at a time when such stories were rarely told on stage—let alone with humor, sensuality, and cultural specificity. Today, its revival feels both celebratory and necessary.

This is not just a story about love—it’s about the evolution of love. It’s about what happens after the passion settles, when real life, real dreams, and real differences come into play.

It’s sexy, yes. It’s funny, absolutely. But most importantly, it’s real.

As Nanin continues to build on her award-winning legacy, Love Struck stands as a testament to her enduring voice—one that refuses to be boxed in and continues to evolve with every production.

Written by Odalys Nanin and Marie Barrientos. Directed by Odalys Nanin and Angela Nicholas. Presented by Macha Theatre/Films. A visiting production at Odyssey Theatre Ensemble.

At the Odyssey Theatre, 2055 S. Sepulveda Blvd., Los Angeles, CA 90025. Free parking onsite. Admission: $35 in advance, $40 at the door. Box Office: (310) 477-2055

ONLINE TICKETING: https://www.eventbrite.com/e/love-struck-tickets-66479031573

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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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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

The post Dark Majesty: Brazil’s Vinícius Costa da Silva a Commanding Voice in LA Opera’s ‘Akhnaten’ first appeared on .

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.

The post THE CIRCLE: Raw, Urgent, and Deeply Human first appeared on .

Set over one absurd and volatile weekend in Texas, The Circle brings together three generations of the Medina and Mahoney families as unresolved tensions erupt against the backdrop of the 2016 election season. What unfolds is a darkly comic yet deeply human portrait of family, identity, political fracture, and the collective pain that reverberated across the country during one of the most divisive moments in modern American history.

Rivera’s script balances humor and heartbreak, using the intimacy of family dynamics to explore broader questions of accountability, belonging, and healing. Under Jacobs’ direction, the production leans into both the chaos and compassion at the heart of the story, allowing audiences to laugh, wince, and reflect in equal measure.

The cast includes Michael Brainard, Jeanette Godoy, Alma Martinez, Victoria Ratermanis, Lisa Richards, Ava Rivera, Luna Rivera, René Rivera, and Lakin Valdez—an ensemble that spans generations both onstage and off, reinforcing the play’s themes of legacy and inherited trauma.

Adding another layer to the production is original music by Germaine Franco, whose compositions underscore the emotional rhythm of the play and elevate its tragi-comic tone. Franco’s involvement signals the production’s ambition to blend theatrical storytelling with a cinematic musical sensibility.

The four-week run will take place Fridays and Saturdays at 8:00 p.m. and Sundays at 2:00 p.m., January 30 through February 22, 2026, with Pay What You Can preview performances on January 28 and 29. Free parking is available at the theatre.

Opening weekend is designed as both a celebration and a space for community engagement. Friday night will feature a celebrity and VIP opening with a photo booth, while Saturday’s performance will be dedicated to the late producer C. Raul Espinoza. In his honor, Greenway Arts Alliance will make a financial donation to La Plaza de Cultura y Artes, which will also present an art exhibit in the theatre lobby that evening.

On Sunday, February 1, the production extends beyond the stage with a post-show panel discussion titled “Restorative Circles: Indigenous Roots to Today.” Moderated by Fidel Rodriguez of the LA vs. Hate Team, the panel brings together leading voices in restorative justice, healing, and social transformation, including authors, educators, and institutional leaders from UCLA and Loyola Marymount University. The discussion aligns closely with the play’s core themes of reconciliation, accountability, and collective repair.

The Circle is recommended for adults of all ages and older children who experience the play through guided conversation, though parents are advised that the production addresses intense themes.

With its fusion of political reckoning, family drama, humor, and restorative dialogue, The Circle positions itself as more than a theatrical event—it is an invitation to sit in discomfort, listen across divides, and consider what healing might look like after rupture.

For tickets and additional information, visit greenwaycourttheatre.org. TICKETS HERE

The post World Premiere ‘The Circle’, a TragiComic Reckoning with Family, Politics, and Healing January 30th first appeared on .

The Bible’s Moses story told in the book of Exodus has been the subject of many films, documentaries and series with The Ten Commandments being the grandaddy of them all.  So much so that to this day an Easter week cannot pass without the 1956 blockbuster being broadcast repeatedly starring Charlton Heston in his most Technicolor role.  But perhaps the most notable version is DreamWorks’ ingenious 1998 animated musical film, The Prince of Egypt.  Featuring songs by America’s greatest living theater composer Stephen Schwartz of Wicked fame, Angelinos will soon get to see the unique stage adaptation of this retelling of how  Moses discovers his Hebrew heritage and leads his people to freedom from slavery in ancient Egypt. This musical’s central plot focuses on the powerful bond between Moses and his adoptive brother, Ramses, who are torn apart by their diverging destinies.  

Although DreamWorks crafted a family friendly animated feature film, it was not without controversy.  The movie was challenged for its depiction of prophets (forbidden by Islam), assigning God a male gender, emphasizing the not-Biblically accurate storyline of fraternity between Moses and Ramses, and its disputed portrayal of Egyptians’ violent mistreatment of the enslaved Jews.  

Despite these hurdles, The Prince of Egypt had a remarkable debut and was universally praised as “stunning”  (L.A. Times); “a breakthrough” (New York Times);  and “an outstanding artistic achievement!” (Variety). Stephen Hunter from The Washington Post lauded the film, writing, “The movie’s proudest accomplishment is that it revises our version of Moses towards something more immediate and believable, more humanly knowable.”  The film went on to become the most successful, top-grossing non-Disney animated film to date.  A fan base grew around the film as musical afficionados speculated that a live theatrical version was in order.  After all many animated films had already been successfully adapted into hugely profitable Broadway shows like Beauty and the Beast, The Lion King, The Little Mermaid and Aladdin – why not The Prince Egypt?  Fans were overjoyed when in 2020 it was announced that Stephen Shwartz had written additional songs for London’s new West End live theatrical version.  It is that much heralded stage adaptation that the creatives at Casa 0101 are so excited to be presenting November 22 to December 21, 2025.

Casa’s Founding Artistic Director, Josefina López, is thrilled to take on this daring project, saying, “My dream of starting my own theater 25 years ago has flourished successfully over the years to bring us to this point where we are presenting one of the most epic stories of all time on our stage.  I am so proud of our artistic work and overjoyed. Here’s to the next 25 years!”

Emmanuel Deleague, Producer and Executive Director of CASA 0101 Theater is equally effusive: “This production will amaze audiences.  It is truly a Broadway caliber play in an intimate theater setting.  I am very grateful for (director) Rigo Tejeda’s big vision and the entire cast and crew’s dedication to breathe life into this epic story. But beyond the spectacle of this production, the story is what matters, locating your moral compass and having the courage to act in the face of adversity and fear.  I believe this play will leave our audiences inspired.”

“I am beyond excited to be directing this classic story based on the Book of Exodus as a staged musical,” says director, Rigo Tejeda. He continued, “ I remember as a child always eagerly looking forward to watching the film, The Ten Commandments, on television and being awed by the production values of the story telling.  That sense of wonderment and pageantry through the marriage of glorious music, choreography, costumes, sets and special effects is what audiences who come to see this production will experience.”

Producer Abel Alvarado adds, “There will be over 60 costumes in this new production designed and/or assembled by Tony Iniguez, Costume Designer for RuPaul’s Drag Race, which has won 27 Primetime Emmy Awards.  Iniguez’s creations have also appeared on Bravo’s Botched, Next Top Model and Saturday Night Live, and he has dressed stars like Ariana Grande, Megan Thee Stallion, Carrie Underwood, Shania Twain and Beyonce.”

The cast of principal actors include (Actors Equity*):  Diego Huerta-Gutierrez* (of Santa Ana, CA) as Moses (Actors Equity); Christopher J Thumé (of Studio City, CA) as Ramses; Joslynn Cortes* (of Sherman Oaks, CA) as Tzipporah (Actors Equity); Jabriel Daniels (of Los Angeles, CA) as Seti/Jethro; Chrissi Erickson (Highland Park, CA) as Miriam; Aiden Ricardo Heredia (of South Los Angeles, CA) as Young Aaron; Danielle Johnson (of Glendale, CA) as Queen Tuya; Sammy J Kohler (of Escondido, CA) as Aaron/Guard; Naledi Miga (of Koreatown, CA) as Nefertari; Sofia López(of Riverside, CA) as Young Miriam/Leah; Tal Toker (of Chatsworth, CA) as Hotep; and Toni Elizabeth White* (of West Hollywood, CA) as Yocheved (Actors Equity).

The talented singing and dancing ensemble include:  Julian Armaya,  Christopher D. Baker, Aaron Gibbs, Kayleigh Long, Gabriella Ortiz* (Actors Equity), Emily Ann Pember, Faith Perez, Alyssa Rojas, Joseph Rosales and Abraxaz Efrain Sanchez López.

Both Tania Possick (Choreographer) and Gabrielle Maldonado (Music Director) are experienced professionals who are going to bring great song and movement to this glorious production.  

This writer, along with all the theater community are excited about Casa 0101’s commitment to presenting innovative musical theater like The Prince of Egypt to the Los Angeles. Once again, this is a rarely produced piece whose  message of speaking truth to power is an inspiration in our times.  This show is a “must see!”  Bring the whole familia to experience the joy and majesty of The Prince of Egypt.  

WHO & WHAT:  CASA 0101 Theater presents DreamWorks THE PRINCE OF EGYPT:  THE MUSICAL.  
WHERE: Gloria Molina Auditorium at CASA 0101 Theater, 2102 East First Street, Los Angeles, CA 90033

WHEN:  Fridays & Saturdays at 8:00 p.m., and Sundays at 3:00 p.m., November 22 – December 21, 2025.
TICKETS:  $35.00 per person for General Admission; $30.00 per person for Students and Seniors 60+, $25 per person for Boyle Heights residents & Groups of 10 of more.  For tickets, please call the CASA 0101 Theater Box Office at 323-263-7684, E-mail tickets@casa0101.org or buy online at www.casa0101.org<http://www.casa0101.org>

AGE APPROPRIATENESS: This show is recommended for children ages 8 and up.  Children three and under will not be permitted.  

GALLERY: A free art exhibit entitled “Always Running:  Photography by Luis J. Rodriguez,” (Los Angeles’ Poet Laureate from 2014-2016) will be open to attendees.  The exhibit includes images related to Rodriguez’s book, “ALWAYS RUNNING:  La Vida Loca:  Gang Days in L.A.”  

PARKING:  Free parking is available on several streets surrounding the theatre.  Limited free parking is available at the Boyle Heights City Hall Parking Lot located at 2130 East First Street (at Chicago Street) by entering the lot from Chicago Street.

CASA 0101 Theater Supported in Part By:  The State of California, Los Angeles County Department of Arts & Culture, National Latinx Theater Initiative, Herb Alpert Foundation, Perenchio Foundation, The City of Los Angeles Department of Cultural Affairs, California Arts Council, U.S. Bank, The Herb Block Foundation and the David Lee Foundation.
For All Show Info: visit www.casa0101.org<http://www.casa0101.org>

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When President Ulysses S. Grant said, “I do not think there was ever a more wicked war than that waged by the United States on Mexico … “ he was predicting the impetus for the searing drama that unfolds in Josefina López’s newest play, Eléctrico, having its world premiere production at Casa 0101 Theater in Boyle Heights (Los Angeles) from October 10 through November 2, 2025. 

Set in the spring of 1910, prior to the Mexican Revolution, Eléctrico is the story of a white passing electrician, Raymond Brown.  The action takes place in a small town in Texas, close to the Mexican border, 62 years after the U.S. landgrab was set into motion by the 1848 Treaty of Guadalupe Hidalgo where Mexico ceded half its territory.  Brown is caught in a racial struggle between whites and the Mexicans when he discovers the shocking reason why the town’s electricity went out.

“As a Mexican-American playwright and screenwriter I feel I have a responsibility to tell the stories of my people, which might otherwise remain untold”, said award-winning playwright and author López. “After reading William D. Carrigan and Clive Webb’s book, The Forgotten Dead about the lynching of Mexicans in the southwest, I was compelled to write my play, Eléctrico, as a historic feminist western drama”. 

For this important piece, López teams up once again with director Corky Dominguez.  Together they present as a winning combination, seeking to challenge and entertain the audience in an inventive and unabashed way.  The bold direction of Dominguez style is perfect for this important historical story.

“Although the play’s characters and plotline are fictional, the subject matter which Josefina’s play is based on, is 100% true’, [They] took place in Texas in the late 1800s and early 1900s; brutal realities that for the most part, that have been forgotten by history.” 

“My goal is to unearth the truth that has been buried and forgotten along with all the dead who are part of this ‘American’ story, Josefina chimes in. ”I needed to write this play to open this uncomfortable conversation that needs to be discussed.”  

Due to the play’s mature subject matter and violence, this show is recommended for ages 13 and above.

Emmanuel Deleage, Casa 0101 Executive Director and producer talked of the significance of premiereing Eléctrico this year. “CASA 0101 Theater is thrilled to present Josefina López’s latest creation, a feminist western, as the centerpiece of our Theater’s 25th Anniversary celebration,” and emphasized, “It is a story rooted in the past and as relevant today as ever.

With original corridos (story ballads) written and performed by Francisco Rivas Medina,Eléctrico stars Robert Moris Castillo and Corina Calderon – both professionals with numerous impressive film, television and theater credits.  It features the talents of Sonia Aguirre, Casara Clark, Andrew Laughery, Dustin Loomis, Francisco Rivas Medina, Alessandro Mendoza, Jeremiah Ocañas, Ryan Padilla, Sierra Pérez-Gelbman and Timothy Willard.

Often treated like strangers in their own land, Chicano/Mexican-Americans are raised hearing the adage that “we didn’t cross the border, the border crossed us!”  Eléctrico strives to bring light to this dark time in history in hopes of engendering understanding in a more just America.   

For all show info: www.casa0101.org

Where:  The Gloria Molina Auditorium at CASA 0101 Theater, 2102 East First Street, Los Angeles, CA  90033  

When:  Fridays & Saturdays @ 8:00PM, Sundays @ 3:00PM, four weeks only: October 10 thru November 2, 2025 

Tickets: $25.00 each General Admission; $22.00 each Students & Seniors 60+; $20 each Boyle Heights residents & Groups of 10 or more. The Box Office can be reached at 323.263.7684 or at tickets@casa0101.org

Talk Backs: (for ticket holders only): Following Sunday matinees on: 
October 12th (led by playwright Josefina López with Dr. Stewart Davenport, History Professor at Pepperdine University discussing the Treaty of Guadalupe Hidalgo) & October 26th (led by director, Corky Dominguez, guest speaker/s TBD). 

Free Art Exhibit: Arthur Carillo’s “My Experience y La Tuya,” prior to performances in the theater lobby. 

Casa 0101 Theater Is Supported In Part By:  The State of California, Los Angeles County Department of Arts & Culture, National Latinx Theater Initiative, Herb Alpert Foundation, Perenchio Foundation, The City of Los Angeles Department of Cultural Affairs, California Arts Council, U.S. Bank, The Herb Block Foundation and the David Lee Foundation.

The post Deadly Legacy Of The Mexican-American War Comes To Life In ‘Eléctrico’ debuting At Casa 0101 first appeared on .

Fernandomania, now playing at Casa 0101 Theater, offers a unique and heartfelt theatrical tribute to Mexican-born Major League Baseball pitcher Fernando Valenzuela, whose meteoric rise to fame in the 1980s captured the imagination of fans worldwide. Conceived by Artistic Director and award-winning playwright Josefina López (Real Women Have Curves), the production weaves López’s throughline of muralist Roberto Vargas as he tries to finish Valenzuela’s mural before the legend passes, with twelve world-premiere playlets penned by a diverse group of Los Angeles writers. The result is a collage of perspectives that illuminates Valenzuela’s legacy not only as an athlete, but as a cultural touchstone for the Latino community.

The writing team spans from seasoned playwrights to first-time community writers, underscoring the communal nature of the project. Among the contributors is Valenzuela’s daughter, Maria Fernanda Valenzuela, whose piece Linda emerges as one of the production’s most personal and affecting entries. In it, Fernando (portrayed by Edward Navarrete) is seen in the early days of his career, leaving behind his beloved in Mexico as he is recruited by the Dodgers, only to return years later with a marriage proposal. The story, told through the lens of Maria Fernanda, movingly charts the couple’s journey through Fernando’s career ascent and their life together until his passing this year.

Each of the playlets, drawn from memories and reflections of what Valenzuela meant to the writers, is directed by a different artist, giving the program a broad stylistic range.

Of note is director Vance Valencia, helms three standout works. Kimberly Huff’s Safe at Home delivers emotional resonance, while Our Playground written by Dr. Connie Valencia reimagines the world of Latina baseball players in a manner reminiscent of A League of Their Own, yet firmly grounded in cultural specificity. Most striking, however, is La Habra Ass Foos by Don Huesos—a raucous, high-energy exploration of Chicano identity that electrified the audience. Navarrete, doubling here as the quintessential Chicano character Gabe, commanded the stage with humor and authenticity, demonstrating impressive range alongside his portrayal of Valenzuela.

While the evening varies in polish from piece to piece, as might be expected from a collection of multiple writers and directors, the overall impact is one of celebration, memory, and cultural pride. Fernandomania succeeds not only as a theatrical experiment but also as a community-driven homage to an icon who continues to inspire across generations.

Fernandomania runs through September 21 at Casa 0101 Theater. For admirers of Fernando Valenzuela, and for anyone interested in witnessing a diverse chorus of voices come together to honor a legend, this production is a meaningful tribute well worth experiencing.

Directors of FERNANDOMANIA include:  Emmanuel Deleage (of Silver Lake, CA); Carmelita Maldonado (of El Sereno, CA); Karla Ojeda (of East Los Angeles, CA) and Vance Valencia (of Boyle Heights).

Playwrights include:  Josefina López (of Boyle Heights) (Fernandomania Forever), which anchors the show playing out in 12 transitional scenes between each play throughout Act I and Act II; Maria Fernanda Valenzuela (of Hollywood, CA) (Fernando and Linda Valenzuela’s youngest daughter) (Linda); Oscar Arguello (of La Puente, CA) (No Sabo) (I Don’t Know); Chris Banda (of West Covina, CA) (Blue Days); Gloria Isabel Briseño (of Inglewood, CA) (Nando); Ignacio Gonzalez (of Downey, CA) (Beisbol y Novelas) (Baseball and Mexican Soap Operas); Kimberly Huff (of Azusa, CA) (Safe At Home); Jose Luis Lopez, Jr. (of Riverside, CA) (From Somewhere); Christopher John Magallanes (aka Don Heusos) (of Montebello, CA) (La Habra Ass Foos); Celina Martinez (of Silver Lake, CA) (A Good Hero/Un Buen Heroe); Michael St. Onge (of Fontana, CA) (Once Upon A Time in LA); and Dr. Connie Valencia (of South Los Angeles, CA) (Our Playground).

The Cast of FERNANDOMANIA includes:  Adlih Alvarado (of Hollywood, CA); Yasha Alaniz (of Van Nuys, CA); Luis Galilei (of Los Angeles, CA); Veli Gonzalez (of Nuys, CA); Phoenix Marroquin (of South Central Los Angeles, CA); Evelyn Menchaca (of Pico Rivera, CA); Gabriel Montoya (of Sherman Oaks, CA); Martin Morales (of Silver Lake, CA); Jose Nateras (of North Hollywood, CA); Edward Navarrete (of Northridge, CA); Eugene Antonio Negrete (of East Los Angeles, CA); Itzel Ocampo (of Alhambra, CA); Jeremiah Ocañas (of Boyle Heights); Gabriela Pedraza (of Burbank, CA); Alejandro Reynoso (of Santa Ana, CA) and Laura Vega (of Pasadena, CA).

Tickets are available at: https://www.eventbrite.com/e/fernandomania-tickets-1402491031429?aff=oddtdtcreator

The post ‘Fernandomania’ at Casa 0101 a Grand Slam Tribute to Fernando Valenzuela first appeared on .

By Cris Franco

In Beisbol y Novelas (Baseball and Mexican Soap Operas), playwright Ignacio González recounts how young Jaime and his Abuela clash over their only television set whenever his Dodgers and her novela were aired at the same time.  Avelino, Jaime’s dad, is caught between two generations rooted in two countries.  That changes when a young Mexican pitching sensation brings the family – and the entire community – together.  “I wanted to show how Fernando Valenzuela united generations through beisbol.  Prior to his arrival, the sport was for little boys, their fathers or an uncle as coach.  After Fernandomania, abuelas, tias and primas all wanted to watch beisbol,” said González.  

This and 11 more world premier playlets capture the uplifting, heartfelt and often life-changing effect “El Toro,” Fernando Valenzuela, had upon Angelinos during his historic pitching summer of 1990. The Sonora, Mexico-born Valenzuela’s far-reaching impact is what drove CASA 0101 Founder and Artistic Director, Josefina López, to create this anthology, saying, “When Fernando came into the general public’s consciousness, his screwball pitches not only turned him into a Major League Baseball icon — but for millions of Mexicans, like myself, he became someone to look up to.  Our Ten-Minute Play Festival, FERNANDOMANIA is our way of thanking Fernando Valenzuela for the legacy he has left us.”

López’ anthology, Fernandomania Forever, is based on a poem she wrote for the Boyle Heights unveiling of renowned artist Robert Vargas’s mural of Valenzuela. “Fernando Valenzuela was my hero when I was 12-years-old, when I had none.” López continues, “My family and I were undocumented and his victories made us feel seen.  My father, who was a bracero and was humiliated in this country during that time, felt so proud to be Mexican when he saw Fernando strike out his opponents. This inspired him to name my little brother after Fernando.”

Most notable among the contributors is María Fernanda Valenzuela (Fernando’s youngest daughter) whose playlet Linda is titled after her mother who had four children with Fernando during their 42-year marriage.  Says Ms. Valenzuela, “It’s been incredibly meaningful to honor my father by writing Linda, a play that reflects his impact and our family’s love.  I also appreciate CASA 0101 for their continued support of young writers and actors in our community.”

And when Josefina López put out the call for the community’s recollections on Fernandomania, their response was overwhelming.  Here are some selections from the night’s offerings: 

In From Somewhere, by Jose Luis López, Jr., sportscaster Jaime Jarrín’s live, Spanish radio broadcasts of Valenzuela’s prowess atop the pitcher’s mound give hope to a young boy who listens intently while his immigrant parents reveal their quiet battles of work and belonging.  The author says, “Though both my immigrant parents weren’t into sports, they still felt a connection to Fernando Valenzuela — because he represented people like them.  I missed Fernandomania, but I grew up knowing who Fernando Valenzuela and Jaime Jarrín were before I even understood baseball.  This play is about hard work, family, and being seen.  It’s my way of honoring my parents and the many others who gave so much and asked for so little.”

No Sabo (I Don’t Know), written by Oscar Arguello, finds a nine-year-old boy, obsessed with television who is starting to reject his culture, until his mother points out the shared qualities between themselves and Fernando Valenzuela.  He learns a lesson about identity and what truly makes a hero.  Says Arguello, “This is my story.  I was a non-Spanish-speaking “No Sabo Kid” in the 80s, even though my parents were Mexican.  But once Fernando Valenzuela became a world-renowned television media star, I owned my identity and embraced my heritage.”

In Celina Martinez’s A Good Hero/Un Buen Heroe, a chronically ill college professor calls upon her deceased father’s spirit to re-experience the healing joy of reminiscing about their beloved “Fernando.”  Martinez recalled, “As a child, I’d watch  baseball with my father, Juan, who taught me all he knew about the game as he regaled me with tales of his years pitching in the Cuban baseball leagues.”  

Michael St. Onge’s Once Upon A Time in LA, is based on true events. Says St. Onge, “In 1958, my grandfather immigrated to America as a young man to work the fields of Coachella.  For years, he listened to the Dodgers’ games on Spanish radio, but truly became a fan when Fernando Valenzuela started pitching.  Not having a lot of money growing up, going to a Dodgers game was unaffordable.  After my father passed, I began manifesting behavioral problems.  My grandfather invited me to see Fernando pitch.  It was the first Dodgers game for us both, and it changed our lives.  I think my grandfather’s pride grew as he recognized a little bit of himself in Fernando.  I looked at the obstacles young Fernando had to overcome in coming to America from another country. Though he did not speak English, against all odds, he still succeeded!  I realized that I also had a rough path ahead of me — but there was still a chance for me to succeed as well.”

Written by Gloria Isabel Briseño, Nando is about the playwright’s late brother, Fernando Ochoa, whom she lost a year ago in August 2024.  Gloria’s narrative follows two siblings, Nando and Isabel, on their yearly hike up the Elysian Hills to talk about everything — and nothing.  As the sometimes mysterious conversation unfolds, we wonder if all parties in the scene are actually present?  “I was driven to write this play because of my deceased brother, me being a big Dodger fan and because I’m dedicated to never forgetting the Chavez Ravine community that was dislocated from their homes when the stadium was built.  So, for me, it’s a really mixed bag.  On top of that, my mother named my brother Fernando because of Valenzuela, so my play explores how one person’s brave act can impact a whole city and a single life.”

La Habra Ass Foos written by Christopher John Magallanes (aka Don Hueso) tells of Gabe who has changed his persona to fit the Chicano stereotype.  Can his friends Johnny and Robert convince him to be true to himself?  Their journey of self-discovery begs the burning question:  What does it mean to be Chicano, anyway?   Says the author of his playlet, “Fernando Valenzuela entered the public eye at a time when Mexicans felt unrepresented in Major League Baseball.  Fernando’s presence in the then predominantly white sport resonated with the many Latinos who felt like they were fighting to be recognized in a country that had disregarded their value.  Not only did Fernando achieve recognition and acclaim, but he did so while always being himself and never changing to appease the status quo.”

In Safe At Home, written by Kimberly Huff, a middle-aged, third generation American-Mexican Dodger fan communes with her late grandfather about Fernando Valenzuela’s influence on immigrants.  She simultaneously grapples with the whiteness of her own skin and the silence of the Dodgers during the recent political events in and around Los Angeles including the recent ICE raids.  Playwright Hoff said, “The main female character, Kathryn, embodies elements of my late mother and me at ten-years-old.  The character of Antonio is based on my maternal grandfather, with whom I shared a strong mutual admiration of ‘El Toro.’”

Our Playground, written by Dr. Connie Valencia is semi-autobiographical. The action takes place in an East L.A. park where an amicable workout among four childhood friends takes a surprising turn when the group are all signed-up for a baseball game. To confront her anxieties and overwhelming desire to win, Cassandra allows herself to be guided by the spirit of Fernando Valenzuela.  

Dr. Valencia says, “The four women represent my three friends and I, who for years all participated in YMCA youth sports at Breed Street Elementary.  It was an amazing and unforgettable experience being part of that program”, She shares and continues, “My parents were more enthusiastic when Fernando Valenzuela played, because we were watching a player that represented us.  On game days my parents would pick us up from school as early as possible so that we had enough time to make dinner, clean the house, finish homework and enjoy the game.  My parents, especially my dad, were in high spirits and approachable when Fernando played.  These were the days that I felt most at ease around my dad. The Dodgers became a cultural staple in our household when they signed Fernando Valenzuela.  For the first time, many Latinos including members of my family and friends felt that Latinos were finally being acknowledged as a force in American sports.”

Chris Banda’s Blue Day, opens on four siblings sifting through what they consider to be their late father’s neglected possessions – until they unexpectedly uncover a long-buried memory that sparks a journey of healing and familial connection.  Says the writer, “While cleaning out my garage, I came across some small mementos from when my son was one-year-old.  He is now 26, but holding these items brought back long forgotten memories.  I find it fascinating how these little keepsakes can transport us back in time, serving as magical keys that unlock doors in our minds.  Many of us have strong recollections tied to experiences associated with Fernando Valenzuela, and I wanted to connect those memories to our keepsakes.  These items help us preserve and transform meaningful moments into tangible memories.”

Ah, yes – memories! 

FERNANDOMANIA  is  performed in English and/or Spanish with supertitles and is recommended for all ages – from niño to viejo! It is directed by Emmanuel Deleage, Carmelita Maldonado, Karla Ojeda and Vance Valencia with a cast featuring Adlih Alvarado, Yasha Alaniz, Luis Galilei, Veli González, Phoenix Marroquin, Evelyn Menchaca, Gabriel Montoya, Martín Morales, Jose Nateras, Edward Navarrete, Eugene Antonio Negrete, Itzel Ocampo, Jeremiah Ocañas, Gabriela Pedraza, Alejandro Reynoso and Laura Vega.  

To have your own Fernandomania experience come see the show. For all info, visit: www.casa0101.org 

FERNANDOMANIA 

WHEN (four weeks only):  August 29^th thru September 21^st, 2025;  Fri/Sat at 8 PM & Sun at 3 PM

WHERE: CASA 0101 THEATER 2102 E. 1st St., Los Angeles (Boyle Heights), CA 90033

PRICES: General admission $25 • Seniors 60+ $22 • Boyle Heights residents & groups of 10 or more $20

TICKETS: 323-263-7684; tickets@casa0101.org ; www.casa0101.org

POST-SHOW TALK BACK SESSIONS (for ticket holders only):  Sunday matinees with varying panelists, moderated by Mexican-American baseball author: Professor Richard Santillan

The post ‘FERNANDOMANIA’: Play Festival Celebrating Baseball Legend Fernando Valenzuela  first appeared on .