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.

“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.