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.

The post EXCLUSIVE: LIFE Film Festival to Honor Oscar-Winning Producer Yvette Merino and Acclaimed Director Patricia Riggen 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>

The post CASA 0101 Presents DreamWorks ‘The Prince of Egypt’ The Musical   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

Playwright/Screenwriter Josefina López holds a singular place in both American theater and Hollywood—an artist whose voice has reshaped the narrative around Latinas on stage and screen.

In 1990, her signature play Real Women Have Curves, about an ambitious, 18-year-old, plus-sized Latina battling her family’s oppressive gender and cultural norms, became a major hit. In 2002, after a bidding war, HBO adapted the play into an award-winning film with America Ferrera in her first starring role.

So enduring is López’s semi- autobiographical tale, that for the last 23- years, both the play and film have consistently drawn large audiences, taken by López’s funny and insightful depiction of the immigrant struggle. Not resting on her laurels, more plays followed. 

López used her college loans to establish a community theater, CASA 0101, which offers multiple performing arts programs and world class theater. Lopez initially opened a nearby restaurant, CasaFina Restaurant to complement the theater experience.  Both her theater and the restaurant are located in the neighborhood that fueled her creative spirit, Boyle Heights. It was this same spirit that drove her to not give up on a career-long dream — to see her play morph yet once again, into a full Broadway musical.

Now, in a full-circle moment, López’s dream of bringing Real Women Have Curves to Broadway has finally become a reality. On April 27, 2025, the musical adaptation of her iconic play will make its long-awaited debut.

I had the privilege of speaking to Ms. López who was in NYC attending a show rehearsal. We discussed why her musical is more than just entertainment, how a “sewing factory sings”, and the importance of keeping Real Women Have Curves real.

CRIS FRANCO (CF): Josefina, I’ve streamed the many rehearsals, promos and preview clips from Real Women Have Curves, the musical — and I’m very excited!    

JOSEFINA LOPEZ (JL): Me, too! It’s got all that I loved about the play and movie but heightened with singing, dancing and an expanded story. Lisa Loomer, who adapted it, has done such a great job. 

CF: How has the original plot changed? 

JL:  We’ve added to it.  Revisiting the world allowed us to delve deeper, go back in time and bring in characters with backstories true to the times. We now meet Guatemalan (Itzel) and Salvadorian (Rosalí) refugees, a cholita (Flaca) trying to remake her life and a woman who hasn’t yet come out. These real people were part of my factory experience and now we’ve included them. It’s beautiful.

CF:  It sounds wonderful — and daunting.  Was it challenging adapting Real Women into a musical?

JL: Yes. I had tried twice before — but decided to let Lisa Loomer take-on this third attempt because when you create a successful play and movie, as I did, you get attached.  But for the project to grow, you have to be able to see beyond what already exists.  And to create new moments where it lends itself to song and dance.  I knew I had to just let go and tell myself, yeah, that moment is possible, too.  And that was the challenge. 

CF: It appears there are new male characters in the musical. 

JL: Yes. The original play featured only women and there were a few men in the film. But we added more men into the musical.  And that’s part of the challenge, too. Knowing what characters to add — without adding too many. You don’t want to overpower the narrative because Broadway often relies on spectacle and I didn’t want us to lose sight of the story.  

CF: I get it. You wanted to keep Real Women, real.

JL: Yes.  

CF: The master of musical theater, Stephen Sondheim, stated that when he was approached about musicalizing a story, he’d ask himself: “Does it sing?” Did you think Real Women would sing?  

JL: I knew it would. All the way back, when I was in the (sewing) factory, I knew that Real Women  was a musical because the factory itself was musical. The sewing machines each had a distinct, humming sound depending on how old the machine was or if it needed oil. The steam iron made a rhythmic hiss. Cutting the fabric had a percussive tick-tick-tick. The radio was always playing. Outside the cars would zoom by and you could hear all the “loncheria” trucks horns honking — da-da-da-da-daaaa!

CF: “La cucaracha, la cucaracha” — 

JL: The factory was always alive with sound and motion – moving the dresses, shaking them, sewing them, ironing them.  There was always action throughout the workroom and choreography to the assembly of the garments.  Even when I was writing the original play, I thought to myself, this story could be a musical. I imagined the women dancing with the mannequins. I had all these ideas but I was only 18-years-old and, frankly, I didn’t know how to write a musical. But I could definitely hear and see it come alive as a musical.

CF: What are your favorite musicals?

JL:  I didn’t like musicals growing up because they were not relevant to my life in Boyle Heights. It wasn’t until years later when I experienced that moment in Miss Saigon where (Vietnamese) Kim and this white (American) soldier’s souls connect through a song, that I thought, ‘Oh my God — musicals can be about anything’. They don’t have to be about two white characters falling in love in a world where everything’s rosy. Those plots were so completely relatable to me living as an undocumented girl in East L.A. So, Miss Saigon got me interested in musical theater and then I saw Next To Normal —

CF: O.M.G. That show is so daring. It’s about how a wife and mother whose mental disorder destroys and — in a way — unites a suburban family. 

JL: Next To Normal showed me that musicals can go deep and be profound. That’s when I thought, I really want my play to be a musical. At first that was just a dream, but after our film won so many awards, I started actively working with my manager seeking theater producers. And I’ve been pursuing this goal until I finally met Sergio Trujillo who won the Best Choreographer Tony in 2019.  I thought Sergio could direct it. He’s an immigrant, so he gets it and understands the pain of being undocumented.  And it slowly all came together. 

CF: There are so many elements involved in creating a musical, that a director can make or break your show.  How did you select your collaborators: Lisa Loomer and Nell Benjamin (book), Joy Huerta and Benjamin Velez (score)?  

JL: Selecting the right creatives is a big decision. But when I met Barry Wessler, the producer of Chicago, I thought — well he must know what he’s doing. His show’s have been running for over 20 years! Lisa Loomer was the smartest choice because she knows my world of Boyle Heights and she knows me.  Sergio is the one who came up with Joy Huerta. I had heard some of her songs and had heard of her.   

CF: She’s a Grammy winner. 

JL: Yes. I just had never put Joy’s name and her wonderful songs together. I thought — Oh, my God, this woman’s a poet.  She is an incredible, soulful human being — amazing.  And I thought, yes, she could write the songs for the show.   

CF: I very much like the songs I’ve heard.  They’re on story, tuneful and energetic. 

JL: I agree.  Once the creatives were lined up, I guess my big contribution was insisting that our casting agent, or at least their consultant, be a Mexican-American.  So that Mexican-American actors would be the first to be considered for the roles.  

CF: That is very important because today’s discerning Latinx audience are very familiar with the cultural and linguistic nuances of a México-American vs. a Puertoriqueño vs. a Cubano, etc. Casting still lumps us together into playing a generic Hispanic that comes across as inauthentic because a generic Hispano doesn’t exist.  But what does exist in your show is a cast that can all act, sing and dance.

JL: Well, you have to be a triple threat to be on Broadway, right?

CF: Was it a challenge finding Latinx triple threats?

JL:  It was hard to find men and women of a certain age who could sing and act and dance because until shows like In The Heights — thank goodness for In The Heights — our actors had limited opportunities to develop their musical talents. But we have assembled an amazing cast. But, the biggest challenge was getting the word out in the search for our lead, Ana, because, once again, not enough Latinos get to train, especially Mexican-Americans.  But we finally found Tatianna Córdoba who can do it all.  Plus, she’s got incredible comedic timing and she’s a great singer. Tatianna graduated from Boston Conservatory of Music at Berklee in 2022.  She’s beautiful, charming and she looks 18-years-old!  

CF: But finding her took work? 

JL: We had over one-thousand submissions for the role.      

CF: Although the original Real Women was written in the 1980s, the themes are more pressing than ever: body image, femininity vs. feminism, women’s rights, the immigrant experience. What do you think that says about our present society?

JL: Those things have only gotten worse. It’s sad. When I first wrote the play, I thought that twenty-years later, the story would be irrelevant because society would have progressed beyond these racist and sexist assumptions.  But it’s only gotten worse for women and the undocumented. It’s gotten worse for everyone. Immigrants have been dehumanized. So, it’s divine timing that this play is now on Broadway so it can challenge the narrative that we are the bad guys. That we’re taking rather than contributing. I’m very proud to share my story because it’s not just mine. It’s the story of so many others. Me, our director and the whole cast feel that telling this story is now necessary.  It’s not just entertainment.  It’s us fighting for our humanity.

I was talking to a reporter earlier and I realized — hey, by opening a theater and a restaurant, I’ve created hundreds of jobs. I didn’t take anyone’s job away. Immigrants create jobs. I’ve always been very proud and public about the fact that I am a formerly undocumented person who at age18 worked in a sewing factory.  And today I get to walk to a Broadway show where I get to see myself portrayed as a worker in that sewing factory. In a way, I’m the embodiment of the American Dream.  

CF: You certainly are. And, I too, can’t understand anyone who can’t relate to the cause of the undocumented worker.  I mean, they are just like you. They are you in different circumstances. It’s disparaging to refer to them as “aliens.”

JL: Which is code for “non-human.” And for me, that term really hurts. So I wanted to explore and celebrate my humanity through the story and say, no, I’m not an alien, I’m a human being. That’s why the play’s undressing scene is so important.  It says — look at me!  I’m flesh and blood and curves and fat and everything.  How much more real can I be than this?  

And, yeah, it’s a story of defiance, of self-acceptance because that’s me, too. But it’s also a personal feminist story about how we women are made to feel that we’re not good enough by a system that makes us feel inferior. I used to blame myself thinking, I just need to work on myself.  Until I realized that every freaking woman has the same program running in her head. And I got sick of it.  That’s why I wanted to share this story, so the other women could see it and think — wait a minute. I’m going through the same bullshit. Oh my God, everyone’s going through this!

CF: Speaking as a male — yeah, it’s true. Society does allow us to be uncaring, sloppy, vulgar, aggressive, blunt and demanding.  While women are heavily judged if they display those very human traits. Society will forgive the most vile man of almost anything if he’s a good provider. Which brings me to money and the economics of Broadway. 

JL: Oh, yes.  Mounting a show here is crazy expensive. 

CF: Currently, some orchestra prime tickets to Othello starring Jake Gyllenhaal and Denzel Washington list at $900 each with the cheapest ticket at $221.  But I’ve noticed that Real Women sells some balcony seats for under $50.  

JL: I think they’re listed at $48. We’re doing our best so that our audiences can afford to see the show. I always just go to the half-price TKTS booth and get them at 50% off but that still adds up to $100 for a pair of tickets.  And that’s because it takes about twelve-million dollars to get a show on Broadway. So it requires many investors who are primarily white men — even at my backers’ auditions.  

CF: How do you think that affects what shows get produced? 

JL: Well, if this is the group that decides what musicals make it to Broadway, it eliminates many shows that don’t appeal to this very specific funding base. I know that without a hit play we wouldn’t have had the hit movie. And without the movie we wouldn’t have had a shot at becoming a musical.  

CF: It’s very significant that you are finally here. 

JL: Especially this season when, for the first time in history, we have two new Latino musicals on Broadway: Buena Vista Social Club and Real Women Have Curves. 

CF: Do you think that says something positive about Latino stories breaking into the mainstream market? 

JL: Yes, because by bringing people into our experience they can see how beautiful we are. Broadway’s not seen a world quite like Real Women Have Curves. We present my working-class neighborhood the way I saw it.  Colorful murals, life, creativity, resilience, hope. Which is contrary to what most have heard about Boyle Heights which was at one time labeled the “drive-by shooting capitol of the world.”  That’s what captures the national headlines — not that our city has a long history of activism for civil rights and social justice. 

That’s the truth, just like the musical truly depicts how much fun it was working in the factory.  The day was filled with so much laughter and juicy chisme (gossip) that I really looked forward to going to work. So, while my friends all went off to college, I went to work in a factory where I got a real education about what it meant to be a woman. 

CF: So, your journey to Broadway began way back then. And now you’re here. 

JL:  It’s incredible to walk to Times Square and to see a giant billboard for Real Women Have Curves. 

CF: (my phone’s alarm goes off) Josefina, there’s so much more I wanted to ask you but I know our time is over and you’ve gotta go back to rehearsal. I’m gonna jump to my final question: What advice do you offer to young playwrights? 

JL: To keep telling the truth. Write about what they know, and to write about the wisdom they’ve [writers] gained from their pain and suffering, because nobody needs any more tragedies. And if they haven’t yet learned from their life lessons, wait a couple of years to write your story.  We need to hear about what they’ve gained from the losses. 

To experience what Josefina López learned from her storied life, get ready to experience Real Women Have Curves:  the Musical currently in previews wiht opening night on April 27th at the James Earl Jones Theater, NY, NY.  

The full cast includes: Tatianna Córdoba, Justina Machado, Florencia Cuenca, Shelby Acosta, Carla Jimenez, Aline Mayagoitia, Jennifer Sánchez, and Sandra Valls, Mauricio Mendoza, with Ana’s boyfriend played by Mason Reeves. with the ensemble cast consisting of Zeus Mendoza, Claudia Mulet, Christopher M. Ramirez, Monica Tulia Ramirez, Quincy Hampton, Ariana Burks 

For all show info and tickets, log onto: https://www.realwomenhavecurvesbroadway.com

The post Josefina López: From Boyle Heights to Broadway Lights first appeared on .

The 3rd Annual Mexican Film & Television Festival (MAFTF) is doing something that is long overdue “Celebrating the Mexican-Amerian/Chicana Filmmaker”. The celebration will be the culmination of their two day film festival that which takes place on Saturday 20 and the 21 at Harmony Gold in Hollywood with the Illustrious Awards closing the festival the evening of April 21.

“Mexican-American woman have always been in the forefront of the progress of our community, including film,” said Dr. Jose Luis Ruiz, President of the Mexican American Cultural Education Foundation, the entity that produces the MAFTF.  “I felt it was time to thank and recognize this effort”.

Noted filmmaker Lourdes Portillo, a documentarian originally form Chihuahua, Mexico is epitome of the Chicana Filmmaker.  Although her first films were focused on the experience of a Nicaraguan refugee of the 1972 Managua earthquake and the  Argentinian story of The Mothers of Plaza de Mayo, her work has been dedicated to documenting the stories of the Chicano/Mexican-American experience. Her projects have won Oscar and Emmy nominations and Special Jury Prize at the Sundance Film Festival among other accolades.  A true pioneer in filmmaking and someone whose work cannot be forgotten for lack of attention.

Not many film festival dedicate space to Chicano filmmakers. The two that come to mind are the Chicano International Film Festival which has been around for 20 years in Los Angeles and the Xicano Independent Filmmakers Festival in Denver. However, neither have dedicated a whole festival to the Mexican-American filmmakers and in particular Chicana filmmakers.

Indeed, MAFTF decided it was time to shine a bright light on Mexican-American filmmakers and the stories they tell, to document their excellence and inform and showcase their work that will live on through generations.

It was with this in mind that MAFTF selected their 2024 Mexican-American/Chicana filmmaker honorees to recognize their artistry with the Illustrious Award. The Honorees are, Academy Award winning producer Yvette Merino for her work as a producer for Disney’s  hit film Encanto, Patricia Riggen (Miracles From Heaven, Under the Same Moon)who started her career by winning a student Academy Award, has two major box office hit movies and just wrapped her  film G20 in South Africa. Real Women Have Curves playwright and screenwriter Josefina Lopez, whose play is on the way to Broadway as I write this.  Esperanza Esparza will receive the Pioneer award in recognition of her film work in the 70’s, and Academy Award nominated short documentary, Agueda Martinez: Our People, Our Country.  The Lifetime Achievement Award goes to Bel Hernandez Castillo (Latin Heat Magazine) for providing media coverage and documenting the expansion of Latinos in Hollywood for over 30 years.

Looking towards the future, there is a wave of upcoming Latina storytellers, directors, producers and writers.  One of those new directors is Academy Award nominee America Ferrera who is currently in pre-production to direct her first film, I Am Not Your Perfect Mexican Daughter.  Eva Longoria’s first time out directing resulted in last year’s hit film Flamin’ Hot.  Gigi Saul Guerrero another Mexican American via Canada, is fast becoming a talent in the horror genre.  Selected as a filmmaker to watch by Variety Magazine, she directed the film Bingo Hell and various episodes of TV shows The Purge and Into the Dark. Linda Yvette Chavez’s writing career is on the fast track.  Having co-written and produced the hit TV show Gentefied, she then went on to co-write the hit film Flamin’ Hot and just finished penning Ferrera’s directorial film.

The group of Latina filmmakers continues to grow and this year, over a dozen Latina directors, producers, writers whose projects are screening at this year at MAFTF.  Among them, we are sure, are the filmmaking start of tomorrow.

MAFTF’s celebration of the Chicana/Mexican-American filmmaker, was long overdue.  It’s an exciting time for women filmmakers, Latina filmmakers, Chicana/Mexican-American filmmakers…!Que Viva La Mujer! 

The post Spotlight On The Chicana/Mexican-American Filmmaker first appeared on .

The Mexican-American Cultural Education Foundation (MACEF), a 501c3 organization, proudly announces the upcoming 3rd edition of the Mexican-American Film & Television Festival (MAFTF) slated for April 20 – 21, 2024, at the prestigious Harmony Gold Theater in Hollywood. Marking 2024 as the “Year of the Mexican-American/Chicana Filmmaker,” MAFTF will honor accomplished individuals whose groundbreaking contributions have significantly impacted the entertainment industry.

In a dedicated effort to celebrate diversity and inclusivity within the cinematic landscape, MAFTF will pay tribute to four remarkable women during this year’s festival:

• Ivett Merino: Renowned producer, and Oscar Winner for the Academy Award winning film Encanto. Will received the Prestigious MACEf’s President Award.
• Eva Longoria: Her feature film directorial debut of Flamin’ Hot became the highest streaming movie from Searchlight ever and she made the Hollywood Reporter’s Forces for Change Power List for 2023.
• Patricia Riggen: Esteemed director, will be honored with the Trailblazer in Directing Award, known for her work on “Miracles From Heaven.”
• Josefina Lopez: Celebrated playwright and screenwriter, will be honored with the Excellence in Writing Award.
• Bel Hernandez Castillo: Noteworthy journalist and publisher, recognized for documenting the Latino Hollywood success in her publication, Latin Heat.

While embracing the evolving landscape of the entertainment industry, MAFTF seeks to acknowledge the vital role that Chicanas have played in shaping cinematic narratives. Despite Mexican-Americans constituting nearly 70% of all Latinos in the U.S., their contributions have often gone untold and unrecognized.

The festival’s mission is to provide a platform for Mexican-American/Chicano filmmakers to showcase, promote, and celebrate their creative talents. By fostering an environment of networking and support, MAFTF aims to bridge the gap between filmmakers and Hollywood executives, fostering opportunities beyond stereotypes.

The demand for the festival is evident, with over 150 submissions, including feature films, shorts, documentaries, and TV projects, reflecting a diverse range of themes. These stories address identity, high school angst, love, animation, relationships, immigration, marriage, and more, contributing to a vibrant showcase either in-person or virtually over the two-day event.

Statistics from the 2022 Latino Donor Collaborative Media Report emphasize the underrepresentation of Latinos on screen, despite their significant contribution as avid TV consumers and high movie ticket purchases. MAFTF provides a platform for Mexican-American/Chicano filmmakers to share stories that resonate with their communities.

With only 6% of speaking characters on screen being Latino, as reported by USC’s 2023 Annenberg Inclusion Initiative study, MAFTF stands as a crucial initiative in amplifying diverse voices in the film industry.

MACEF President and Founder, Dr. Jose Luis Ruiz, emphasizes the importance of representation, stating, “Our goal is to turn this trend around. This will not change unless we create the change.”

The festival will honor its distinguished recipients, Patricia Riggen, Josefina Lopez, with retrospective screenings of their impactful projects, Under The Same Moon and Real Women Have Curves respectively. As in previous years  MAFTF prestigious panels of judges lead by Festival Awards Director Jerry Velasco and award-winning film and television director, Jesus Trevino will choose among the 150 submission the best in 10 competition categories, including Best Film, Best Director, Best Short Film, Best TV Series, Best Male Actor, Best Female Actress, Best Screenplay for Film, Best Musical, and Best Screenplay for TV.

The two day festival will culminate with the star studded, red-carpet and Oscar styled  “Illustrious Award”, where winners and honorees will receive their awards in front of 350 colleagues and movie lovers, taking place on April 21st at 6 PM, capping the festivities.

Film submissions are still being accepted, with a deadline of January 31, 2024. For more information about the 2024 MAFTF, and to purchase tickets, visit www.MexAmCEF.org.

Mexican American Cultural Education Foundation’s mission is to change the negative narrative of Americans of Mexican descent by highlighting their stories and their positive contribution to the U.S. For more information about the 2023 MACEF Film Festival, www.MexAmCEF.org.

The post The Mexican-American Film & Television Festival Honors Mexican-American/Chicana Filmmakers in its 3rd Edition first appeared on .

Upcoming on KPFK’s Arts in Review, celebrating the best in live theater and cabaret in the Greater Los Angeles area.  The prolific playwright Josefina López, now celebrating the 20th Anniversary of her Sundance Film Festival award-winning film, Real Women Have Curves, based on her groundbreaking play of the same name, will be expanding her creative palette with her latest collaborative work, the World Premiere of “Remembering Boyle Heights:  Part 2.” This is an immersive theater piece, created and devised by Josefina López, Corky Dominguez and the Remembering Boyle Heights:  Part 2 Ensemble. López joins Arts in Review host, journalist Julio Martinez on Friday, November 18 (2 to 2:30pm) on KPFK 90.7fm.

The new production is the second half of a theatrical celebration inspired by the diverse stories, memories and experiences of Boyle Heights’ history and monumental events shaping the community from the 1940s to present day. CASA 0101 Theater in partnership with El Centro del Pueblo are proud to co-produce this new production to be presented at CASA 0101 Theater, 2102 East First Street (at St. Louis Street), Boyle Heights, CA  90033.  Opening Night is Friday, November 18, 2022 at 8:00 p.m. Performances will be given on Fridays and Saturdays at 8:00 p.m. and on Sundays at 3:00 p.m., Nov

The post Arts in Review Guest: Playwright Josefina Lopez first appeared on .

Dolores Huerta, Civil Rights and Human Rights Icon and founder of the Dolores Huerta Foundation , and Josefina Lopez award-winning playwright and screenwriter (Real Women Have Curves), will testify on Monday, April 26, 2021 at 3:00 p.m. in Sacramento, CA at Senate Labor Committee Hearing for Senate Bill 805 (SB 805), “Save The Performing Arts Act of 2021,” authored by State Senator Susan Rubio (D-Baldwin Park) representing the 22nd District, and co-authored by State Senator Ben Allen (D-Santa Monica) representing the 26th District.

Dolores Huerta worked closely with Luis Valdez (La Bamba, Zoot Zuit) early on to bring relevant and socially conscious and relavant theater to the fields early with the United Farmworker’s Union. “The history of the performing arts is interwoven with the fight for social justice every step of the way,” she said. “Theater was a significant voice that helped bring about change in public consciousness during slavery, the civil rights movement, women’s suffrage, the organized labor movement, the Chicano movement, and just about every other movement working to bring about equity for those in their group.

Stories like Lopez’ Real Women Have Curves, or Valdez’ Zoot Suit were written and developed in small theaters.

“Save The Performing Arts Act of 2021 or SB 805, is the first bill in the nation that will create a critical funding infrastructure to help assist Small Nonprofit Performing Arts Companies (SNPAC) with average adjusted gross revenues equal to, or less than $1.4 million, to be adjusted every five years based on the California Consumer Price Index.
 
SB 805 will direct the California Arts Council to establish the California Nonprofit Performing Arts Paymaster, which will provide low-cost payroll and paymaster services to SNPACs.  This legislation will establish the Performing Arts Equitable Payroll Fund to ensure that SNPACs can pay all workers minimum wage, particularly workers in marginalized communities.
 
Small nonprofit theaters are incubators for playwrights, actors, designers, directors and other artists.  They have historically provided networking opportunities and mentorship for Black, Indigenous and People of Color artists to facilitate connections necessary for career advancement by providing performance experience that helps to open doors to larger, less accessible companies. Furthermore, SNPACs contribute to the economic growth, social well-being and cultural vitality of the local communities they serve.

To be part of the conversation with us on Instagram @sb805california, on Twitter @sb805ca and on Facebook at https://www.facebook.com/SB805ca   Hashtags include:  #SB805, #THEATERMATTERS, #CALIFORNIA, #TEATRO, #BIPOCAccess, #SOSCA, #TheaterIsSocialJustice

— Latin Heat News Service

— Featured Photo: Dolores Huerta (Heather Hazzan) and Josefina Lopez (Shane Sato)
 

The post Dolores Huerta, Josefina Lopez Support Performing Arts Act of 2021 first appeared on .

By Justina Bonilla

Since 1988, the National Library of Congress’ National Film Registry has chosen 25 films a year to preserve for being “culturally, historically or aesthetically” significant. This list in the past has inducted iconic and groundbreaking films from To Kill a Mockingbird to The Godfather and Disney’s Snow White. The 2019 film inductions are more diverse than ever, with ten films directed and/or featuring ethnic talent, including five Latino/Hispanic talent.

Inducted this year, are two highly regarded films in Latino American and Chicano cinema, Zoot Suit and Real Women Have Curves.  Zoot Suit is the second film written and directed by the Father of Chicano theater Luis Valdez. Real Women Have Curves is a modern classic by Chicana playwright Josefina Lopez, who created the story and co-wrote the screenplay.  Both Real Women Have Curves and Zoot Suit began as plays, showing the significant influence of plays in Latino American film history.  

Latino/Hispanic talent was also featured in other inducted films, namely Purple Rain (leading actress Apollonia Kotero), Boys Don’t Cry (actress Hillary Swank), and Platoon (actor Charlie Sheen).

Past inductees featuring significant Latino/Hispanic stories and/or talent include:

In 2018, the National Film Registry faced criticism, due to its lack of diversity in its list of 750 films. According to TIME Magazine Only 36 films were directed by people of color. Now, the National Film Registry is adding more films with ethnic talent behind and in front of the camera. Solidifying the importance and impact of ethnic talent and stories in American cinema. Contributions that have been overlooked for years, due to preferences for non-ethnic stories and limited and/or stereotypical ethnic roles.

Latino oriented films and significant films with Latino talent that should be evaluated for consideration by the National Film Registry for induction include:

Significant Films featuring Latino talent:

The post Latino Films Inducted To The National Film Registry first appeared on .

Author/Playwright Josefina Lopez talks about her projects and Film Director Ben DeJesus talks about his groundbreaking work with John Leguizamo, Latin History for Morons

TheTRENDTalk show airs on Sunday mornings at 7:30 a.m. on MeTV network. You can always catch the shows on YouTube and here on Latin Heat.

Co-hosts are EMMY award-winning journalist Naibe Reynoso and Bel Hernandez, CEO, and President of Latin Heat Media. Both ladies have been embedded in the Hollywood entertainment industry for decades and have always been at the forefront of Latinos working in front and behind the camera. On TheTRENDTalk, the ladies reach out to Latinos making a difference not just in entertainment but in all industries and through their efforts, are making a positive impact in their communities. Both Reynoso and Hernandez have author books– “Be Bold, Be Brave!, an inspiring illustrated book for girls and young Latinas by Reynoso, and “8 Ways To Say I Love My Life,” a book compiled with chapters written by eight women who relate their stories of courage and strength, Hernandez wrote one of the chapters.

Lopez is a Chicana playwright, best known as the author of the play and co-author of the screenplay, Real Women Have Curves. Her other notable plays include Simply Maria, or the American Dream, Confessions of Women from East L.A, Boyle Heights, and Hungry Woman in Paris, which is based on her first novel.

How DeJesus got to where he is today is a fascinating story, but somewhere along the way after his theater education at Rutgers University, he met John Leguizamo, which led to directing the PBS documentary Tales from a Ghetto Klown to Latino History for Morons. In between, DeJesus has directed episodic TV for many series on the Disney Channel.

Read more on Ben DeJesus, click LatinHeat, and click on Josefina Lopez for more on what she’s been up to.

The post TheTRENDTalk: Josefina Lopez & Ben DeJesus, What We Didn’t Know first appeared on .