By Guillermo Baldo
Translated by LuisDa Molina Rueda
By Guillermo Baldo
By Antón Arrufat
Translated by Amanda T. Perry
Citizens, the time has come
for him to speak who watches over the homeland
without yielding his eyes to soft sleep
without listening to enemy voices
or surrendering to the memory of his own blood.
By Amaranta Osorio and Itziar Pascual
Translated by Phyllis Zatlin
Then I’ll read mine to you. I wrote it the day I met you. When you told me that you believed in fireflies.
By Raquel Diana
Translated by Sophie Stevens
She’s not an actress. But she’s here on a stage with open arms saying thank you.
By Gerardo Fulleda León
Translated by David Lisenby
Good evening to you all! Today I want to tell you the tale of a boy. He was not a prince or a philosopher. But he could have been someone who passes by and then builds a tower that makes us raise our eyes in amazement.
Reviewed by Jean Graham-Jones
Staging the Spanish Golden Age serves as a detailed, critical record of an important translation event for the English-speaking stage and as an insightful provocation for future theatrical-translational collaborations.
Reviewed by Kathleen Jeffs
Here is an engrossing and troubling play in a translation crying out for contemporary performance.
Reviewed by Gregary Racz
Kudos to all involved in introducing English-language audiences to Guillén de Castro’s overlooked play and in salvaging it, thus, from the limbo of unmerited oblivion.
By Alejandro Ricaño
Translated by Jacqueline E. Bixler
And come out at the Good Luck Hotel.
And they would be there.
And everything would be fine again.
By Rafael Spregelburd
Translated by Samuel Buggeln and Ariel Gurevich
Sometimes I hide a document. I put it somewhere secret, and I start to gauge the effects. When I see everyone’s desperate, I pull the document from its stash, sign it and get the belt running again. I make myself indispensable, you understand?