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Join us for the second edition of Los Angeles’ Festival of Hispanic classical theater, now in a largely virtual mode.

Presenting Hispanic classics, from inventive productions of the original texts to translations and adaptations inspired by the Golden Age.


*ALL TIMES PST / *TODOS LOS HORARIOS SON EN HORARIO ESTÁNDAR DEL PACÍFICO


Finjamos que soy feliz | 12 NOV – 5PM PST

The practice of theater always occurs at a limit-point between its own historical past and its probable future. Ours is a piece by a group of artists who strive to give the classics contemporary meaning. Our texts come from a young writer, Ana Lucía Ramírez, and explore the questions we have been asking ourselves. The magical work of putting them on stage sheds light on possible answers, on a path that includes everything from reviving the ñaque, those 17th-century companies made up of just two actors, to dystopian fantasies of a not-so-future time, full of challenges for a society that seeks to be free. 

Tania and Óscar, the main characters on this voyage, must adapt their acting style to explore this complex text, which takes the powerful figure of sor Juana Inés de la Cruz as its starting point as it considers feminism, inclusivity, and the impediments to free thought, which the Mexican nun defended so passionately in her own time. 

Sor Juana was an outsize figure, as a woman and a creator. Instead of offering a hagiography, we wanted to take on risks, focusing on less obvious matters, to talk about contemporary neuroses and the challenges of our own professional worlds. We take on these risks with our eyes wide open, from a place of passion and commitment, and fully convinced that this kind of seeking is key if our art is to survive.

Finjamos que soy feliz

  • Post-show talk  ZOOM LINK

Don Carlos: Prince of Asturias | 13 NOV – 4PM PST

Set at the peak of the Spanish Inquisition, ‘Don Carlos: Prince of Asturias’ takes us to 16th-century Madrid: a world led by misogynistic patriarchy in which the one-sided view of religion and state ruled the world with fear tactics in attempts to cleanse the population.

Don Carlos was heir to the Spanish throne after the most powerful king in Spain, King Phillip II, but Carlos’ physical deformities, personality anomalies, and ostensible sexual deviances deemed him unfit to rule in a Patriotic and Puritan Spaniard’s eye. Don Carlos was seen as different and therefore immoral, thus the Royal Court would stop at nothing to ensure that Don Carlos never ruled the mighty, pure, and golden kingdom of Spain. Even his father, King Phillip II, would go to extremes in attempts to erase Don Carlos from history. Will Don Carlos fight for what is right, or succumb to his own eradication?

Don Carlos: Prince of Asturias

  • Post-show talk ZOOM LINK

Golden Tongues I: The King of Maricopa County | 13 NOV – 6PM PST

The King of Maricopa County, by Mary Lyon Kamitaki, is an adaptation of Lope de Vega’s El castigo sin venganza (Punishment without Revenge). In present day Arizona, near the border with Mexico, the politically conservative sheriff is up for reelection. His daughter from a previous marriage and his new wife are brought together by destiny: a car collision far out in the Arizona desert, in the middle of a thunderstorm. Their forbidden love, discovered by the vengeful sheriff, sets in motion a tragic series of events that shows the horrific consequences of power run mad.

Golden Tongues I: The King of Maricopa County

  • Post-show talk ZOOM LINK

Quijotes y Sanchos | 14 NOV – 10AM PST

Quijotes y Sanchos is a self-guided tour of Los Angeles. The experience begins at home, as participants receive their instructions. We invite you to see your own space through the eyes of Don Quijote and Sancho, to relive the events of the novel, and to cross the city as though it were the Spain of 1604… or the Tokyo of the late 20th century. Quijotes y Sanchos turns your place and your city into the backdrop, you into the protagonist, and the rest of the world into the ideal cast for your journey. We will get you ready to walk a new world, and to become someone else for a morning. You will decide on your own route, your own personal and intimate wandering through Los Angeles. 

Cervantes’ Don Quijote is the most important novel in Spanish literature, and the text most often translated and published, after the Bible. Yet how many of us have actually read it? Not a problem—you don’t need to know what happens. We focus on Part I, published in 1605, emphasizing the way the novel works on us, and the questions Cervantes asks, which are now our own: What does it mean to be Quijote or Sancho today? What is my actual identity, and who else could I be? What does it mean to walk alongside someone, and how do I do that? What is this world we traverse, and how can our gaze change it, as change feels ever more urgent? 

This is our company’s response to these times of uncertainty and fear, to our need to be out on the street, to meet again. Quijotes y Sanchos comes from the devising Spanish company [los números imaginarios] and producers Bella Batalla, specializing in immersive theater. We promise to be back in ten years’ time with Part II, just as Cervantes did. In the prologue to Don Quijote, Cervantes asks a friend: “How to fill the vacuum of my fear? How to bring clarity to the chaos of my confusion?” To which we say: keep walking. 

Quijotes y Sanchos


Quijóteres Puppet Show | 14 NOV – 1PM PST | Available on Demand

¡Quijóteres! is a bilingual puppet theatre adaptation of Cervantes’ classic novel that aims to introduce young audiences, regardless of their familiarity with Spanish or the Golden Age, to the comic adventures and themes of the Quijote. Featuring “muppet-style” puppets on a unique, multi-functional traveling puppet stage, the show takes advantage of its imaginative puppet setting to emphasize the novel’s intensely comical depictions of the ridiculous, with all of the clashes and crashes, valor and vomit, that have distinguished the Quijote as the quintessential funny book for more than four centuries. The show was produced in 2013, with writing, direction, design, and construction by Jason Yancey, and featured performances by student puppeteers—Caleb Duckworth, Katie Munoz, Russell Cerda, and Lindsay Viviano—with additional support from Grand Valley State University and the Dragoncillo Puppet Troupe.

Quijóteres Puppet Show

  • Post-show talk ZOOM Link

Y es mayor dolor la ausencia que la muerte | 14 NOV – 3PM PST

“Listen to me only with thine eyes,
since your ears are so far from me,
and the weeping of my pen 
but a distant echo of pain.
Since my rude voice cannot find you,
let my mute pleas fall upon your deaf ears.”

Grumelot presents a virtual experience that reflects on what it means to be free while in seclusion, and to achieve our most intimate connections at a distance. This piece, designed for digital platforms, starts from the texts of Sor Juana, that “Tenth Muse” of Mexico, who sought out seclusion for the sake of intellectual freedom, and places them in conversation with 12 female artists as they experience their own isolation during the Great Lockdown of 2020 in Spain.

Y es mayor dolor la ausencia que la muerte

  • Post-show talk ZOOM Link

Golden Tongues II: The Woodingle Puppet Show | 14 NOV – 6PM PST

Julie Taiwo Oni’s riff on Miguel de Cervantes’ Retablo de las maravillas (The Marvelous Puppet Show) reimagines the anxieties around social and cultural belonging in the space of a rapidly gentrifying South LA. In The Woodingle Puppet Show with Host Mr. C, as Constructed by Mr. Asinine with Calculations and Articulations of the Genius Sort, Oni explores questions of Blackness, and the hoops people are willing to jump through to prove that they are “black enough.”

Golden Tongues II: The Woodingle Puppet Show

  • Post-show talk ZOOM Link

Quijotes y Sanchos | 15 NOV – 11AM PST

Quijotes y Sanchos

  • Pre-show talk ZOOM Link

Canciones de Olmedo | 15 NOV – 3PM PST

Canciones de Olmedo is a musical adaptation into concert form of Lope de Vega’s famous play The Knight of Olmedo. Our company, Jóvenes Clásicos, paints with language, just like a painter uses paint on canvas—our goal is to paint a scene for the audience’s delight. Our point of departure is the musicality of the verse, inherited from the epic verse and troubadour poetry of the Middle Ages. The Knight of Olmedo, composed in the 1620’s and widely regarded as Lope’s masterpiece, was actually inspired by a popular song, which describes the death of a knight: “They killed him by night, the pride of Medina, the flower of Olmedo.” We offer you Canciones de Olmedo as a reminiscence of the flavor of Lope’s poetry—a melancholy, nostalgic song to love and the end of love.

Canciones de Olmedo


Golden Tongues III: What We Pay For Likes | 15 NOV – 6PM PST

Inda Craig-Galván’s What We Pay For Likes transports the squabbling, reputation-obsessed aristocrats of Madrid from Juan Ruiz de Alarcón’s Los empeños de un engaño (translated by our Working Group as What We Owe Our Lies) to a Calabasas populated by influencers whose lives revolve around their brands and social media views. When a handsome stranger comes to town, their relationships IRL turn out to be much more complicated than their polished profiles suggest. 

Golden Tongues III: What We Pay For Likes

  • Post-show talk ZOOM Link

The Courage to Right a Woman’s Wrongs | 16 NOV – 4:30PM PST

One of the Spanish Golden Age’s most accomplished female playwrights, Ana Caro, presents a witty critique of society through the story of Leonor, a woman who sets out to find her one-time lover (Don Juan, naturally) and bring him to justice. The Courage to Right a Woman’s Wrongs is a comedy of wild intrigue and lively ingenuity in which Leonor crosses geographical boundaries and defies social expectations of gender in order to bring her fickle lover to justice and restore her lost honor.

Dressed as the dashing Leonardo, Leonor travels from Seville to Brussels, where she finds Juan and initiates her shrewd plan for revenge. What follows is a hilarious feat of masterful maneuvering, replete with cross-dressing and unexpected twists, in which she repeatedly outwits the men around her. And while the thrill of Leonor’s efforts to seek redress culminates with the expected restoration of her honor and marriage to Juan, the questions raised by her demands for justice make the play anything but conventional. Through this stirring tale of a woman’s courage to right the wrongs she has suffered, the play holds up to scrutiny contemporary notions of masculine honor and offers in their place a vision that opens up space for women and their agency.

The Courage to Right a Woman’s Wrongs

  • Post-show talk ZOOM Link

Finjamos que soy feliz | 12 NOV – 5PM PST

La práctica teatral siempre está en el límite entre su pasado histórico y su futuro probable. Ésta es una propuesta escénica que encaramos un colectivo de personas interesadas en la reflexión de cómo dar sentido contemporáneo a los textos clásicos. Y lo hacemos a partir del material textual de una joven autora, Ana Lucía Ramírez. Muchas son las preguntas que nos hemos hecho, y algunas de sus respuestas seguramente estarán perfiladas en la puesta en escena que se hará realidad en esta mágica acción que supone la ceremonia de la representación. Por ella hemos transitado desde la recuperación del ñaque, aquellas compañías que en el siglo xvii recibían este nombre por estar compuestas por sólo dos actores, hasta las fantasías distópicas de unos entornos no ya tan del futuro, cargadas de elementos indeseables para una sociedad pensada en libertad.

Tania y Ósccar, protagonistas actorales de esta travesía, deben cambiar de estilos interpretativos para explorar en este complejo texto, desde la poderosa figura de sor Juana Inés de la Cruz, temas como el feminismo actual, lo políticamente correcto, el lenguaje incluyente o los abusos de poder sobre el tema tan preciado de la libertad de pensamiento que tanto defendió la monja mexicana en su época.

Sor Juana fue un personaje inmenso, como mujer y como creadora, por eso llevar a cabo una tópica obra para simplemente hacer hagiografía no interesaba en este proyecto. Queríamos el riesgo, abordar los pliegues, hablar de las neurosis contemporáneas y de los delirios de ciertos personajes de nuestra profesión. Sabemos cuáles son sus riesgos, pero los afrontamos desde la pasión, el compromiso y la convicción de que la búsqueda escénica es una cuestión fundamental para la pervivencia de este Arte.

Finjamos que soy feliz

  • Post-show talk  ZOOM LINK

Don Carlos: Prince of Asturias | 13 NOV – 4PM PST

Situada en el auge de la Inqusición, Don Carlos, Príncipe de Asturias nos lleva al Madrid del siglo 16, un mundo de patriarcado misógino en el que una visión limitada de la religión y el estado aterrorizaban a la vez que se preocupaban por “limpiar” a la población.

Don Carlos era el heredero de la corona, hijo de Felipe II, el rey más poderoso que hubiese tenido España. Sin embargo, sus deformidades físicas, personalidad anómala y supuestas desviaciones sexuales lo hacían incapaz de gobernar, a ojos de una España patriótica y puritana. A Don Carlos se lo veía como distinto y por lo tanto inmoral. La corte no dudaría en intentar cualquier cosa con tal de que Don Carlos nunca gobernara el poderoso, puro y dorado reino de España. Hasta su padre, el rey Felipe II, llegaría a los extremos para borrar a Don Carlos de la historia. ¿Luchará Don Carlos por lo que es justo, o consentirá en su propia erradicación?

Don Carlos: Prince of Asturias

  • Post-show talk ZOOM LINK

The King of Maricopa County | 13 NOV – 6PM PST

The King of Maricopa County, by Mary Lyon Kamitaki, is an adaptation of Lope de Vega’s El castigo sin venganza (Punishment without Revenge). In present day Arizona, near the border with Mexico, the politically conservative sheriff is up for reelection. His daughter from a previous marriage and his new wife are brought together by destiny: a car collision far out in the Arizona desert, in the middle of a thunderstorm. Their forbidden love, discovered by the vengeful sheriff, sets in motion a tragic series of events that shows the horrific consequences of power run mad.

The King of Maricopa County

  • Post-show talk ZOOM LINK

Quijotes y Sanchos | 14 NOV – 10AM PST

La práctica teatral siempre está en el límite entre su pasado histórico y su futuro probable. Ésta es una propuesta escénica que encaramos un colectivo de personas interesadas en la reflexión de cómo dar sentido contemporáneo a los textos clásicos. Y lo hacemos a partir del material textual de una joven autora, Ana Lucía Ramírez. Muchas son las preguntas que nos hemos hecho, y algunas de sus respuestas seguramente estarán perfiladas en la puesta en escena que se hará realidad en esta mágica acción que supone la ceremonia de la representación. Por ella hemos transitado desde la recuperación del ñaque, aquellas compañías que en el siglo xvii recibían este nombre por estar compuestas por sólo dos actores, hasta las fantasías distópicas de unos entornos no ya tan del futuro, cargadas de elementos indeseables para una sociedad pensada en libertad.

Tania y Ósccar, protagonistas actorales de esta travesía, deben cambiar de estilos interpretativos para explorar en este complejo texto, desde la poderosa figura de sor Juana Inés de la Cruz, temas como el feminismo actual, lo políticamente correcto, el lenguaje incluyente o los abusos de poder sobre el tema tan preciado de la libertad de pensamiento que tanto defendió la monja mexicana en su época.

Sor Juana fue un personaje inmenso, como mujer y como creadora, por eso llevar a cabo una tópica obra para simplemente hacer hagiografía no interesaba en este proyecto. Queríamos el riesgo, abordar los pliegues, hablar de las neurosis contemporáneas y de los delirios de ciertos personajes de nuestra profesión. Sabemos cuáles son sus riesgos, pero los afrontamos desde la pasión, el compromiso y la convicción de que la búsqueda escénica es una cuestión fundamental para la pervivencia de este Arte.

Quijotes y Sanchos


Grumelot | 14 NOV – 3PM PST

“Óyeme con los ojos,
ya que están tan distantes los oídos,
y de ausentes enojos
en ecos de mi pluma mis gemidos;
y ya que a ti no llega mi voz ruda,
óyeme sordo, pues me quejo muda.”

Grumelot presenta una experiencia virtual a partir de la reflexión sobre el ejercicio de la libertad en la reclusión y la experiencia de la intimidad en la distancia. Un espectáculo diseñado para plataformas digitales que pone a dialogar los textos de la décima musa mexicana —que decidió recluirse para poder ser libre intelectualmente— con la vivencia del aislamiento de un grupo de 12 mujeres artistas durante el Gran Encierro de 2020 en España.

Grumelot

  • Post-show talk ZOOM Link

The Woodingle Puppet Show | 14 NOV – 6PM PST

Julie Taiwo Oni’s riff on Miguel de Cervantes’ Retablo de las maravillas (The Marvelous Puppet Show) reimagines the anxieties around social and cultural belonging in the space of a rapidly gentrifying South LA. In The Woodingle Puppet Show with Host Mr. C, as Constructed by Mr. Asinine with Calculations and Articulations of the Genius Sort, Oni explores questions of Blackness, and the hoops people are willing to jump through to prove that they are “black enough.”

The Woodingle Puppet Show

  • Post-show talk ZOOM  Link

Quijotes y Sanchos | 15 NOV – 11AM PST

Quijotes y Sanchos

  • Pre-show talk ZOOM Link

Canciones de Olmedo | 15 NOV – 3PM PST

Canciones de Olmedo es una adaptación musical a formato de concierto dramatizado de la obra de Lope de Vega, El caballero de Olmedo, para el II Edición de LA ESCENA, primer festival de teatro clásico hispánico en Los Ángeles. Desde Jóvenes Clásicos siempre hemos considerado siempre hemos considerado al verso como la Lengua elevada a la categoría artística y al igual que un pintor dibuja trazos sobre un lienzo en blanco, es nuestro deseo pintar para los oídos del espectador. Como punto de partida nos basamos en esa musicalidad que tiene el verso, herencia directa de los Cantares de Gesta propios del Mester de Juglaria del Medioevo. El caballero de Olmedo, obra cumbre de la producción dramática del autor madrileño, compuesta entre 1620-1625, está inspirada en una canción popular: “Que de noche le mataron, al Caballero, la gala de Medina, la flor de Olmedo.” Por todo lo anteriormente mencionado, concebimos Canciones de Olmedo como una reminiscencia del aroma que emanan los versos del Fénix de los Ingenios y un canto melancólico y nostálgico al amor y al desamor.

Canciones de Olmedo


What We Pay For Likes | 15 NOV – 6PM PST

Inda Craig-Galván’s What We Pay For Likes transports the squabbling, reputation-obsessed aristocrats of Madrid from Juan Ruiz de Alarcón’s Los empeños de un engaño (translated by Diversifying the Classics as What We Owe Our Lies) to a Calabasas populated by influencers whose lives revolve around their brands and social media views. When a handsome stranger comes to town, their relationships IRL turn out to be much more complicated than their polished profiles suggest. 

What We Pay For Likes

  • Post-show talk ZOOM Link

16 NOV 

The Courage to Right a Woman’s Wrongs | 16 NOV – 4:30PM PST

One of the Spanish Golden Age’s most accomplished female playwrights, Ana Caro, presents a witty critique of society through the story of Leonor, a woman who sets out to find her one-time lover (Don Juan, naturally) and bring him to justice. The Courage to Right a Woman’s Wrongs is a comedy of wild intrigue and lively ingenuity in which Leonor crosses geographical boundaries and defies social expectations of gender in order to bring her fickle lover to justice and restore her lost honor.

Dressed as the dashing Leonardo, Leonor travels from Seville to Brussels, where she finds Juan and initiates her shrewd plan for revenge. What follows is a hilarious feat of masterful maneuvering, replete with cross-dressing and unexpected twists, in which she repeatedly outwits the men around her. And while the thrill of Leonor’s efforts to seek redress culminates with the expected restoration of her honor and marriage to Juan, the questions raised by her demands for justice make the play anything but conventional. Through this stirring tale of a woman’s courage to right the wrongs she has suffered, the play holds up to scrutiny contemporary notions of masculine honor and offers in their place a vision that opens up space for women and their agency.

The Courage to Right a Woman’s Wrongs

  • Post-show talk ZOOM Link