By Elia Esparza

Not many iconic American playwrights, screenwriters, film directors, and actors can say their work motivated the birth of an impenetrable power — the Chicano Movement! Playwright/director Luis Valdez can. Through his work with El Teatro Campesino and his films (La Bamba, Zoot Suit), he has left an indelible mark on the annals of Chicano theater and cinema.

Born into a Mexican migrant family eighty-two years ago, he began working alongside his parents and siblings in the Delano, California agricultural fields at the tender age of six.  His parents moved often following the harvesting work around the central valleys of California. Valdez had no school stability until his parents finally settled in San Jose, California.

In 1965, Valdez formed El Teatro Campesino, a farm workers’ theater troupe. Valdez’s passion for theater and his first-hand knowledge of how much migrant farm workers labored and sacrificed, recognized that it was the perfect time to merge his theatrical productions and his upbringing for maximum exposure and effectiveness. Valdez incorporated all these experiences into “actos”, one-act skits that were originally performed for the farmworkers on truck flatbeds. His “teatro” toured migrant camps with his 15-minute one-act plays, educating and elevating the plight of the farm laborers to the general public. 

Valdez’s storytelling aspirations started as a child in grammar school. He was in the sixth grade when his interest in theatre piqued and soon found himself organizing plays at school and putting on fairy-tale puppet shows in his garage. Valdez graduated from James Lick High School in San Jose and a scholarship for math and physics paved the path for his attending San Jose State University (SJSU). Valdez spent a few months with The San Francisco Mime Troupe where was influenced by agitprop theatre, guerrilla theatre, and Italian Commedia dell’– techniques that greatly influenced Valdez’s development of his basic structure of Chicano theatre with one-act presentations. 

While in college, Valdez won a playwriting contest with his one-act play, The Theft, in 1961. Two years later, Valdez’s first full-length play, The Shrunken Head of Pancho Villa, was produced and debuted at SJSU.

Valdez incorporated humor into his plays and his productions were a major tool to lift the morale of farm workers on strike. The social and political commentary picked up by mainstream media expanded the experiences of farm workers and other aspects of the Chicano culture. Valdez was able to bring to the forefront and dispel the Chicano stereotypes. 

Valdez soon took his style and creativity to the screen with his first film directorial, the short I Am Joaquin, a poem by poet, political organizer, and activist Rodolfo “Corky” Gonzales in 1969. Next, came a TV documentary short, El Corrido: Ballad of a Farmworker in 1979.

He wrote and directed the seminal hit play Zoot Suit which premiered in 1978 to sold out crowds, a majority first time Latino audiences which ran for a year goers at the Mark Taper Forum in Los Angeles and then at the Aquarius Theater in Hollywood. In 1981, Valdez directed the adaptation of the play, which starred Edward James Olmos, Daniel Valdez, Charles Aidman, Lupe Ontiveros, Mike Gomez and many others where reprising their roles from the stage production.  It was a box-office success far exceeding all expectations.

In 1987, Valdez wrote and directed La Bamba which more than a decade, was the most the most successful Latino-themed film at the box-office and critically. It tells the story of the popular Chicano 1950s rock star, Richie Valens who was killed in a plane while on tour. The film starred a very young Lou Diamond Phillips as Richie, Esai Morales, and Rosanna DeSoto as their mom. La Bamba is the mega-hit that brought Valdez to mainstream America. 

Zoot Suit and La Bamba garnered Valdez two Golden Globe Awards nominations, and was awarded a Peabody Award for Excellence in Television for Corridos: Tales of Passion and Revolution for PBS as well as Mexico’s Aguila Azteca Award in 1994.

And for the younger audiences, Luis Valdez is credited on the 2017 Pixar’s computer-animated fantasy film, Coco as a voice actor.

In the United States, it is no surprise why so many Chicanos can relate to, and consider Luis Valdez their modern-day Ernest Hemingway. The power of his plays and films continues to resonate — his words accurately representing nuestra cultura Chicana… Mexican-Americans in the U.S.A., and best of all, Valdez’s films are always cast with many talented Latino cast and crew. 

In commemoration of Luis Valdez contributions to the worlds of theater and cinema the Mexican-American Film and Television Festival (MAF&TF) will recognize Valdez’s contributions to the American theater, film, and television industries with the Illustrious Lifetime Achieve Award on May 21, 2023. Valdez truly encompasses the theme of this year’s festival “Changing the narrative, recognizing who we are” as he is truly a pioneer in writing and directing the stories that gave Mexican-Americans the recognition that was truly deserved.

The Mexican-American Film & Television Festival will screen two of his films, Cisco Kid (1994), a television film which starred Jimmy Smits and Cheech Marin, on Saturday, 6 PM on May 20^th, and Zoot Suit (1981), which was the play that jump started Edward James Olmos’ career, will screen on Sunday, 3 PM on May 21^st. Both films screen at the MAF&TF at the Harmony Gold Theater, located at 7655 Sunset Blvd., Los Angeles, CA 90046. For ticket and info, CLICK HERE

Standing ovation for Luis Valdez!

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Hollywood has lost a giant in the Theatre arena. Diane Rodriguez, 68 died on April 10, 2020 from lung cancer. The LA Times called it a “Seismic loss” and that pretty much says it all.

In the theatre world there was no one more passionate and a supporter of theater artists of color. She was inducted into The College of Fellows for the American Theatre in 2018, and appointed by President Obama to the NEA’s National Council on the Arts.

She began her career in theater working in San Juan Bautista with Luis Valdez’s reknowed El Teatro Campesino before moving to Los Angeles where she worked as an actress, helped found the comedy troupe Latin Anonymous (with Armando Molina, Luisa Leschin and Cris Franco) due to a lack of role for Latinos at that time. She then transitioned into becoming part of the artistic staff at Center Theatre Group ultimately as associate artistic dirtctor for a 24 year run.

In 2018, Rodriguez was diagnosed with stage four lung cancer, for which she was treated for two years. What complicated her illness was suffering a stroke in March.

Aside from working as an actor, director, playwright, and producer, she later was the book writer for the Broadway-style musical Barbie Live!, creative and cultural consultant for the Disney Television Animation series Elena of Avalor.

Her husband, Jose Delgado announced Diane’s passing with this loving message:

“It is with a heavy heart that I write to let you know that my bride of 43 years, the incomparable Diane Rodriguez, passed away at 12:50 AM today, Good Friday. She was a beloved partner… a beautiful wife and I am grief-stricken. Diane left a mark on this planet, and I was lucky to be on that ride. She has so many friends here in Los Angeles, around the country and globe. I appreciate all the outpouring of love… “

Rodriguez’s most recent project was the directon of the world premiere of Las Mujeres Del Mar for Playwrights’ Arena in 2019. She directed Culture Clash’s Bordertown Now at Pasadena Playhouse, and Richard Cabral’s Fighting Shadows at Inner City Arts, both in 2018. Her play Living Large premiered at Teatro Luna in 2012 and The Sweetheart Deal premiered in 2017 at Los Angeles Theatre Center.

The news of Diane Rodriguez’s death began on social media, and the outpouring of friends, co-workers and family was immense.

Luis Alfaro — Long time friend and Mark Taper Forum’s Latino Theater Initiative co-director along with Rodriguez remembers Diane:

“I remember the first time Diane Rodriguez and I got serious about changing the world (or at least our theatre).It was 1994. We were both performers for a benefit at the Santa Monica Museum of Art. Diane was part of a comedy troupe she had co-founded called Latins Anonymous and I was a solo performer around town.

Diane had that wonderful straight black hair with the severe bangs. Lots of big loud jewelry, black tights and a funky t-shirt; her performance drag. She was always good for a laugh backstage or some chisme about some gig. But this night, she came up to me and said there was a job opening up at the Taper and that we should apply together, as a team.

Diane was a magical person. Crazy and magical. And sometimes moody and ambitious and complicated and one of the most larger-than-life beings I knew. She lived large.”

Lalo Alcaraz — Cartoonist And Friend published a special La Cucaracha Toon In Her Honor

Debra J.T. Padilla — Besties Forever

“… my Chola sister and my confidant Diane Rodriguez. I can’t bring myself to write all that I feel, but here are a few of my cherished photos of us together. We leaned on each other for over 30 years. The weight of this immense loss is compounded by the loss of my mother… Two key anchors in my life, no longer here in my life, no longer here. In my heart yes, but not here here. Ironically, Diane passed on the same day my father did in 2002. May we all be blessed with a best friend as I have been. Abrazos. Besos y Amor… “

Xavi Moreno: Her Infectious Faith in Theater

“…passing of the great Diane Rodriguez– playwright, director, fearless producer, activist, and a champion for diversity on and off the stage. Her faith in Teatro was infectious. It was an honor to have worked with her both as an actor and graphic designer….”

Dolores Chavez — Sisters Por Vida!

“She Called Me Sister. I whispered Por Vida! And we grew from that promise. Our lives were braided and blessed together for over 25 years. Madres of the Earth and Sky, Homegirls for the community, Soul Sisters of the open road.“

Chavez invites anyone wanting to make a donation to honor Diane’s memory, that they consider:

El Teatro Campesino
Company of Angels
Latino Theatre Company at Los Angeles Theatre Center

Dan Guerrero — Best Buds

I met Diane and her beloved JD in 1982 after moving back to Los Angeles after 20 years in New York City. My dad introduced us. “Mijo, there’s someone that wants to do a musical revue using my music. Wanna go meet them with me?” And that was that.

Di and I particularly bonded and our friendship deepened and matured over the next many decades as our lives and careers continued to intertwine and intersect. We became best buds fiercely loyal and supportive of each other through “good times and bum times,” as Sondheim famously penned.

When I wrote a solo show in 2005, I invited a handful of close friends to a reading . Di immediately saw something. The show lived on as I proudly watched Di’s career expand and explode to international heights. But she was always the same loyal and supportive friend.

We both had impossible schedules and if too much time passed without getting together, one of us would call the other. Happy day when my phone rang and I’d see the name Diane Rodriguez on the screen. And then the strong and familiar voice, “Hi, honey!” I can still hear it. I think I always will. 

Ruben Martinez’s Farewell

“… The breakthrough that she and Luis Alfaro staged through the Latino Theater initiative at CTG cannot be overstated. They won and lost battles but pried the doors open. When I was coming back from a long season of self-inflicted wounds, I approached her with a rough performance idea and she, the wonderful matchmaker, introduced me to Colin Campbell, the beginning of a wonderful collaboration and a friendship that I treasure. That’s Diane for me: a woman making connections, hatching plots, making art and community happen…”

Adriana Sevahn Nichols – A Force of Nature

“Diane Rodriguez was and will continue to be a force of nature. I join the multitude of artists in whom her global legacy will live on. She had a laser insight, a capacity to both see and read a person’s gifts and not just notice, or speak them, Diane saw to it that in whatever capacity she could, those gifts were nourished…“

Daniel Valdez — Creating Teatro

There are no words that can express how much Diane Rodriquez meant to me personally. She was not only my dear friend and fellow teatrista, but my warrior-sister whom I shared a life time of memories and experiences with. From the many tours and performances that took us across this country for years. In theaters, in parks, labor camps and community centers, you name it, we performed there. 

We created Teatro together in a time when we all were discovering our own identity and cultural history as Chicanos and Chicanas. Diane was Teatro as was I. We lived it. We defined it for our generation. We shared it 24-7. We evolved as the Teatro evolved. Diane was there at the most important times of my life. For this, I will always be grateful and honored to have known her. Diane my Dear Sister, I love you…and I shall miss you.

Marissa Herrera — In The Midst Of It All

“… [for the] past 2 years I spent more time around Diane as she was directing work at The Rosenthal Theater. In the midst of her diagnoses she dove into her creativity and passion. If she was sick, and in pain (which she was), she didn’t show it. She never asked for pity or sympathy. In the midst of all the madness, many mourn in the City of Angeles. Rest In Peace, Diane.

Bel Hernandez — Lady Di

She was christened Lady Di by our mutual friend Miguel Delgado (RIP) in the early 80s…and she wore the title well. Her spirit lives on in all of our hearts. RIP Lady Di.

A giant in the theatre industry, Rodriguez’s shoes will be hard to fill. But she leaves a priceless legacy for future generations of theatre professionals.

She was inducted into The College of Fellows for the American Theatre in 2018 and appointed by President Obama to the NEA’s National Council on the Arts. In addition, she was a 2017 Directing Fellow for Sundance Theatre Lab in Arles, France, and 2016 Directing Fellow for the Stage Directors and Choreographer’s Foundation. She was a part of the artistic staff of Center Theater Group for 24 years and had worked with other major companies across the country.

Diane is survived by her husband, Jose Delgado, owner of Pleiades Management and producing director of Ojai Playwrights Conference; her mother Helen E. Rodriguez of San Jose.

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