近距离内射合集

Three New Mexico stories, one stage.

鈥淓speranza,鈥� 鈥淏less Me, Ultima鈥� and 鈥淎y, Compadre!" each produced by a different company, will be making their way to the stage at the National Hispanic Cultural Center.

鈥淲e have been wanting to bring Chicana theater back to the cultural center 鈥�,鈥� said Anna Lee DeSaulniers, NHCC performing arts manager, 鈥渁nd that is one thing that the community really requested that we kind of revive.鈥�

The three shows are set in different cities in New Mexico. DeSaulniers said plays like these are important for showcasing Southwestern culture.

鈥淵ou have amazing Mexican and Latin American art on the West Coast, but there is all this other part of the Southwest, like New Mexico, like Texas, like Arizona, and there is vibrant Chicano culture happening in these places,鈥� DeSaulniers said, 鈥渁nd we are making art, and so it's important that we showcase those settings.鈥�

She said it was important for younger artist to see these plays and recognize that there are stories in New Mexico that are worth telling 鈥� that their stories are worth telling.

Teatro Paraguas produced 鈥淓speranza,鈥� Vortex produced 鈥淏less Me, Ultima鈥� and the Sandia Performing Arts Center produced 鈥淎y, Compadre!" The productions were staged at their home theaters before going to NHCC.

鈥淚 thought that those three together made a really nice series,鈥� DeSaulniers said.

Jeremy Levin, the director of 鈥淎y, Compadre!鈥� said the show鈥檚 connection to New Mexico includes references to Tomasita鈥檚 and getting menudo. The play is based on a story from Rudolfo Anaya, who also wrote 鈥淏less Me, Ultima.鈥�

Production for 鈥淎y, Compadre!鈥� focused on little details like how food is packaged and the lighting mimicking a New Mexico sunset.

鈥淚t makes it really local and really, really close to home,鈥� Levin said.

鈥淭he show is about two native New Mexican couples who have hit that point in their life where they鈥檙e struggling with age, getting older physically, mentally, emotionally,鈥� Levin said, 鈥渁nd all of the stress that comes along with that.鈥�

As the characters deal with aging, there are also themes of relationships and of children growing up and leaving the nest, which is both a physical and emotional change.

鈥淭here鈥檚 a generational connection. The parents鈥� generation talk about how they鈥檙e doing better than their parents,鈥� Levin said, 鈥渁nd then they鈥檙e seeing their kids coming up and going on to do better than they did. So kind of passing on the tradition and passing on the love and that sense of family as well.鈥�

While each play has a similar setting and falls under the umbrella of Chicano/a theater, DeSaulniers said, they鈥檙e all distinct.

鈥淓sparanza,鈥� she said, is an important part of New Mexico history and women鈥檚 history. The play follows the true story of miners in Silver City in 1951.

Co-director Elsa L贸pez said the show is about the power of people and gender justice.

鈥淚t is about the resilience of community and how a group of people who were undergoing tremendous barriers and obstacles found a way very creatively to circumvent those obstacles, and that led them to victory,鈥� L贸pez said.

The show began as a film, 鈥淪alt of the Earth,鈥� then became an opera, and later a musical.

Carlos Morton, the playwright, helped execute both remakes.

The film follows male Mexican miners who form a union to get equal pay to the white miners; soon they鈥檙e told if they picket, the mine will be shut down, and they鈥檒l lose their jobs, Morton said.

So, the women in their lives step up.

鈥淭he women at a meeting say, 鈥榃ell, how about if we picket? We鈥檙e not miners, we鈥檒l picket for you,鈥� he said.

The show hit close to home not only because of the location, but because people who participated in the protests came to see it. Two women who were at the picket line when they were 8 and 15 watched and talked about how it was amazing to see themselves represented on stage.

鈥淚t鈥檚 not just a story; it is a story that is homegrown, that it still has roots in New Mexico, and that it really talks about the resiliency of the people in our state,鈥� L贸pez said.

Anaya鈥檚 coming-of-age novel, 鈥淏less Me, Ultima鈥� is a New Mexican classic that he later adapted for the stage and The Vortex Theatre performed it in 2010, with Valli Marie Rivera directing. Leonard Madrid, who designed the sets for the 2010 production, is directing it this time.

鈥淩udolfo Anaya took care to bring his beautiful story to the stage and not leave anything out,鈥� Madrid said. 鈥淎nd I will say this from the mountaintops: it鈥檚 really important for us to celebrate our voices 鈥� the voices of the region, and our storytellers. 鈥� And this is one of the few chances where the actual author wrote his own adaptation.鈥�

Journal staff writer Logan Royce Beitmen covered the latest production of 鈥淏less Me, Ultima鈥� in the July 10 Venue. The article can be found online at abqjournal.com.

Elizabeth Secor is an arts fellow for the 近距离内射合集. You can reach her at esecor@abqjournal.com.