Hispanic Heritage Month

A troubled teenager and her estranged mother—an undocumented Mexican immigrant on the verge of deportation—embark on a road trip and strive to mend their frayed relationship along the way. Combined with the musical talent of Erin McKeown, Hudes artfully crafts a story of the barriers and the bonds of family, while also addressing the complexities of immigration in today’s America.

Quiara Alegría Hudes’ stage adaptation of her much-lauded memoir is a joyous celebration of Puerto Rican womanhood in 1990s West Philadelphia.

In this memoir-turned-play, Hudes showcases a handful of key life moments that mark subtle changes in her sense of self and her place in the world. Interlaid between these vignettes are moments of song, dance, and ritual that evoke her boisterous girlhood in a house run by the Perez women. Through this piece, we come to understand the collaborative art that was Hudes’s coming of age, and the communal nature of autobiography.

“Daphne’s Dive is the kind of place ‘where everybody knows your name.’…Ms. Hudes has a supple feel for characterization and a wide-ranging sympathy for life’s waifs and strays. And like the characters on Cheers, the regulars at Daphne’s make up an informal family with whose triumphs and troubles we come to sympathize.” —New York Times

“A slow-burning, vibrantly sketched portrait of a scruffy North Philly booze joint run by love-scarred Daphne…Most bartenders listen to others’ problems, but Daphne’s cheerful reticence about her own demons makes us lean forward.” —Time Out New York

“Daphne’s Dive led me to this conclusion: I’m just not spending enough time in bars. The one depicted here is the sort of hangout where you go not so much to drink but rather to engage with your extended family through triumphs and tribulations. Not to mention breaking out into the occasional spontaneous dance party.” —Hollywood Reporter

“Quiara Alegría Hudes finds humor as well as tears in Daphne’s Dive, a vibrantly sketched portrait of a North Philadelphia watering hole that a diverse group of friends call home.” —NY1

A revolutionary trying to shake up the status quo. A child looking for refuge from a violent home. An artist in search of some trash to paint. You’ll find them all at Daphne’s Dive, a neighborhood bar in North Philly, where a collection of misfits gather for cold beer and warm company. Known for her acclaimed Elliot Trilogy, Quiara Alegría Hudes continues to grapple with what it means to be an outsider while searching for empathy and connection in Daphne’s Dive.

Quiara Alegría Hudes is the author of the Pulitzer Prize–winning play Water by the Spoonful. She wrote the book for the Broadway musical In the Heights, which received a Tony Award for Best Musical and was a Pulitzer Prize finalist. Recent work includes the musical Miss You Like Hell.

“One of the most joyous and clear-eyed approaches to playing a character that I have ever read…I was already in awe of his performance; now I’m in awe of his humanity and attention to detail, and willingness to share the hard work and magic that goes into it.” —Lin-Manuel Miranda, from his Foreword

Hamilton and Me is a unique, behind-the-scenes account of preparing for, rehearsing and performing in one of the most important cultural phenomena of our time.

When Lin-Manuel Miranda’s groundbreaking musical Hamilton opened in London’s West End in December 2017, it was as huge a hit as it had been in its original production off and on Broadway. Lauded by critics and audiences alike, the show would go on to win a record-equaling seven Olivier Awards—including Best Actor in a Musical for Giles Terera, for his portrayal of Aaron Burr.

For Terera, though, his journey as Burr had begun more than a year earlier, with his first audition in New York, and continuing through extensive research and preparation, intense rehearsals, previews, and finally opening night itself. Throughout this time he kept a journal, recording his experiences of the production and the process of creating his award-winning performance. This book, Hamilton and Me, is that journal.

It is also deeply personal, as Terera reflects on experiences from his life that he drew on to shape his acclaimed portrayal. Illustrated with photographs and featuring an exclusive foreword by Lin-Manuel Miranda, this book is essential reading for all fans of Hamilton­­—offering fresh, first-hand insights into the music and characters they know and love so well—and for aspiring and current performers or students, and anyone who wants to discover what it really felt like to be in the room where it happened.

A new political party has swept into office, promising big changes to curb the impending climate crisis—changes that could put the nail in the coffin for a tiny carbon-economy town in the heart of Northern BC. When an elected representative who grew up in the town arrives to appease the residents, her urban idealism clashes with the hard-hitting realities faced by her family and childhood friends. How will pulling the plug on fossil-fuel dependency play out for this resilient northern community? And does it even matter when a forest fire is encroaching on the town’s borders?

Inspired by playwright Pedro Chamale's own experiences growing up in Chetwynd, BC, Peace Country is a poignant plea for dialogue in a time marked by profound division. Teetering between progress and preservation, this very human drama invites readers to contemplate the fate of communities standing on the precipice of ruin.

It’s Carlos and Marta’s twelfth wedding anniversary, yet while Marta yearns to tango, Carlos insists on the comfort of routine. As their story unfolds through a mosaic of memories, we see what began as a blissful courtship quickly descend into a pas de deux of possession, control, and resentment orchestrated by Carlos. But like a dancer ensnared in an unyielding abrazo, Marta must battle with herself to finally break free.

A story about many women told by many voices, Happy Anniversary is an unflinching portrayal of the insidious violence that can infiltrate relationships disguised as love. It sheds light on the silent battles waged at home, giving voice to the countless women who endure the painful dance of domestic abuse.

The lives of two women from very different worlds collide in the illusionary paradise of a Mexican resort. Sarah, a Canadian wedding guest, is a shot glass half empty. Adriana, a fastidious and vivacious hotel floor manager, finds solace in establishing order. At first glance, they’re simply animated, but looking closer reveals the anxieties they’re trying to hide. When their worlds collide, everything they’ve kept hidden comes into sharp focus.

A bilingual play in English and Spanish, each woman speaks in her own language and shares her unique experiences directly with the audience. Their vastly different realities are reflected in parallel, coming together to mirror and magnify a mutual pain. Through nuanced and surprisingly funny monologues, Quintana and Zelaya-Cervantes focus an attentive microscope on female strength and solidarity to stunning effect.

Fourteen-year-old Simone is caught between cultures: Canadian, Québécois, and Trinidadian. She’s also torn between friends and the projects they want her to take part in. Her best friend Sarah wants them to compete in the talent show with a dance routine, but her new friend Jay has introduced her to the Black History and Culture Committee’s activism and its organizer, tenth-grader Vanessa. Though Sarah represents the comfort of what she knew growing up, Jay and Vanessa offer Simone an opportunity to get to know part of herself that she hasn’t explored yet. As pressure mounts on seeing both projects through, her friendships start to feel the strain and her loyalties are tested. Can Simone find the courage to stand up for what she believes in? Will her friends accept the choices she makes? And will she finally learn to be more comfortable with herself? Simone, Half and Half is a touching story about finding one’s place between identities and communities.

Edinburgh Fringe First Award - 2022

A permanently single, professionally neurotic stand-up comedian finally meets his Mr Right – and then does everything wrong.

Is Mr Right quite what he seems? And just how far will the comedian go to get a laugh?

Marcelo Dos Santos's play Feeling Afraid As If Something Terrible Is Going To Happen is a dark and bitingly funny one-man show about vulnerability, intimacy, ego and truth. It premiered in the Roundabout at the 2022 Edinburgh Festival Fringe, produced by Francesca Moody Productions, directed by Matthew Xia, and starring Samuel Barnett.

The critically acclaimed, Fringe First-winning production transferred to the Bush Theatre, London, in November 2023.

1979. Clarence House, London. The Queen Mother's receptions are in full swing and the champagne is flowing. Guiding the proceedings is William 'Billy' Tallon, page of the backstairs, keeper of the keys, holder of the royal corgis – and the royal secrets.

Outside the palace walls, unemployment, inflation and industrial action are bringing Britain to its knees, and the country is on the verge of changing seismically under Prime Minister Margaret Thatcher. These two worlds are about to collide, with dizzying consequences for everyone...

Backstairs Billy examines the fifty-year relationship between the Queen Mother and her most loyal, most outrageous servant, who joined her household at the age of fifteen. Marcelo Dos Santos's irreverent comedy was first produced by the Michael Grandage Company at the Duke of York's Theatre, London, in 2023, directed by Grandage and starring Penelope Wilton and Luke Evans.

“Beautifully strange… An opera star with a penchant for dramatic sorrow shows up at a doctor’s office, looking for her husband’s heart. Someone got it when he died—which means that somewhere, inside another person’s rib cage, a piece of her husband lives on… Thus begins a tantalizing correspondence in Nilo Cruz’s Exquisite Agony, a play about the human heart: its fumblings and yearnings, its bruises and scars, its generosity and viciousness.” —Laura Collins-Hughes, New York Times

“Exquisite Agony is about a woman who finds life in death, in an atmosphere where poetic insights are the norm and women are the center. Cruz’s feminist view is one of the liberating aspects of his writing, as is a kind of magical realism that is not cloying but true to his characters, and to the fact of dispossession: sometimes we don’t know who we are because we don’t know where life has landed on our bodies, let alone in our hearts.” —Hilton Als, New Yorker

“Exquisite Agony is explosive… As in several of Cruz’s previous works, drama ignites from the friction between the banal and the magical.” —Zachary Stewart, TheaterMania

“Exquisite Agony entertains and enraptures… There’s rueful humor, Chekhovian reveries, and a sense of the mystical… Ravishing on all levels.” —Darryl Reilly, TheatreScene.net

Nilo Cruz is a Cuban-American playwright and director, and the first Latino to win the Pulitzer Prize for Drama, for his play Anna in the Tropics. His other plays include Sotto Voce, Beauty of the Father, Two Sisters and a Piano, Lorca in a Green Dress, Dancing on Her Knees, and Night Train to Bolina.