Golden Tongues - Diversifying the Classics
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Golden Tongues Performance Series
GOLDEN TONGUES
JUNE 29 & 30, 2013
UCLA CLARK MEMORIAL LIBRARY
Cervantes Interludes by Oliver Mayer
Adapted from Cervantes’ El juez de los divorcios and El rufián dichoso
Directed by Jonathan Muñoz-Proulx
Cause Célèbre by Velina Hasu Houston
Adapted from Ana Caro’s Valor, agravio y mujer
Directed by Jon Lawrence Rivera
Painting in Red by Luis Alfaro
Adapted from Calderón de la Barca’s El pintor de su deshonra or The Painter Of His Own Dishonour
Directed by Jon Lawrence Rivera
GOLDEN TONGUES 2
SEPTEMBER 6 & 7, 2014
UCLA CLARK MEMORIAL LIBRARY
Unhappily Married in Valencia by Laurel Ollstein
Adapted from Guillén de Castro’s Los malcasados de Valencia 
Directed by Jennifer Chang
Goat Springs Eternal! by Paula Cizmar
Adapted from Lope de Vega’s Fuenteovejuna
Directed by Douglas Clayton
Fixed by Boni B. Alvarez
Adapted from Calderón de la Barca’s El médico de su honra
Directed by Jon Lawrence Rivera
GOLDEN TONGUES 3
SATURDAY, JUNE 6, 2015
HERSHEY HALL CORTILE
UCLA CAMPUS
Adapted from Tirso de Molina’s La celosa de sí misma or Jealous of Herself
Directed by Jon Lawrence Rivera
Dawg in the 626 by Annette Lee
Adapted from Lope de Vega’s El perro del hortelano or The Dog in the Manger
Directed by Diane Rodriguez
LA Escena Festival 2018
SEPTEMBER 21-23, 2018
GREENWAY COURT THEATER
LOS ANGELES
School for Witches, or Friendship Betrayed by Madhuri Shekar
Adapted from María de Zayas’ La Traición en la Amistad
Directed by Jonathan Muñoz-Proulx
Like/Share by Janine Salinas Schoenberg
Adapted from Calderón de la Barca’s Los Cabellos de Absalón
Directed by Fran de Leon
La Locura de los Ángeles/The Madness of Angels by Michael Premsrirat
Adapted from Lope de Vega’s Los Locos de Valencia
Directed by Jenapher Zheng
LA Escena Festival 2020
A Virtual Experience Hosted by A Noise Within Theater
The King of Maricopa County by Mary Lyon Kamitaki
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 Woodingle Puppet Show with Host Mr. C, as Constructed by Mr. Asinine with Calculations and Articulations of the Genius Sort by Julie Taiwo Oni

 

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.”
What We Pay For Likes by Inda Craig-Galván

 

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.