What’s New & Recent Press

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miranda family repertorio espanol

Repertorio Español announces the finalists of The 2022 Miranda Family Voces Latinx Playwriting Competition, an initiative to develop and promote Latinx/Latine plays that resonate with and accurately depict the Latinx/Latine experience by playwrights of all racial and national backgrounds. After receiving over 150 scripts written in either English or Spanish by emerging playwrights from across the United States and Puerto Rico, the company will present staged readings of the five finalists. All readings will be free to the public community and will be presented from June 14th to June 28th.

The winners will be announced in the Fall:
Grand Prize Winner: $3,000
2nd Place: $2,000
3rd Place: $1,000
2 Runners up $500


By Miguel Enrique Fiol-Elias
Tuesday, June 14th at 7:00 pm

Miguel Enrique Fiol-Elias (1)

Directed by Carlos Armesto
Presented in English

Playwright Bio: Miguel Enrique Fiol-Elias is a Puerto Rican Neurologist at the University of Minnesota, has lived in Twin Cities for 25 years, done research, published in journals and five books- three novels and, two poems; The Chrysalis is his first play. He is interested in Puerto Rican diaspora issues, is a grandfather of five, and has an active lifestyle with community work, writing and is the founder of a cultural organization’ Fidecomiso de la Familia Fiol- in his native hometown, Ponce.

About The Chrysalis: The Chrysalis brings to life the dreams of a Puerto Rican family struggling to survive identities pulling them apart. In 1980s Puerto Rico, the AIDS epidemic has struck fear throughout the southern city of Ponce and the island and Raul, as he comes out to his family, discovers the secret gay love affair of his deceased grandfather whose spirit then come to his help.


By Yessi Hernández
Thursday, June 16th at 7:00 pm

Yessi Hernández Writer

Directed by Pablo Andrade
Presented in Spanish

Playwright Bio: Venezuelan actress, writer, producer, and journalist of Cuban and Spanish descent. TV host of the prime-time show Soy Un Boom and voice of the radio stations Hot94.1FM and 88.1FM. Co-founder and Executive Director of Corezon and editor-in-chief of La Guía Cultural in New York. She is recipient of HOLA, Latin ACE, ATI, Arte, Talía and Latin Alternative Theater Awards as an actress and playwright.

About Las vidas rotas: A Venezuelan immigrant makes her way in the United States in search of a better future and a dream: to bring her mother in the midst of one of the most controversial governments in history.


By Rachel Lynett
Tuesday, June 21st at 7:00 pm

Rachel Lynett Headshot hi-res

Directed by Kimberly Ramírez
Presented in English

Playwright Bio: Rachel Lynett (she/they) is a queer Afro-Latine playwright, producer, and teaching artist. Their play, White People by the Lake was a 2022 Blue Ink Award finalist. Lynett is also the 2021 recipient of the Yale Drama Prize for their play, Apologies to Lorraine Hansberry (You Too August Wilson), and the 2021 recipient of the National Latinx Playwriting award for their play, Black Mexican.

About Black Mexican: Who gets to be a part of Latinidad? While Valery fights to prove Ximena isn’t Cuban, Alia has given up fighting that she is Latine. As the women in this play discover the truth about themselves and each other, they also have to face the internal bias that allowed a white woman to be Cuban but didn’t allow a Belizean to call herself Latine.



By Karina Curet
Wednesday, June 22nd at 7:00 pm


Directed by Gerardo Gudiño
Presented in Spanish

Playwright Bio: Born and raised in Caguas, Puerto Rico. Holds a BFA in Acting from SUNY Purchase and is a graduate student at the NYU Grad Acting Program. Has worked as an actor, Shakespeare and audition coach for teenagers and college students, casting assistant and playwright. NYU credits include: Three Sisters, The Tempest, and Learned Ladies of Park Avenue. SUNY Purchase credits include: Juliet in Romeo and Juliet, Tales from the Vienna Woods, Museum, Inspector General, and Blood Wedding.

About Agua por todas partes: Three siblings meet at their late mother’s house to pack up and clean before handing it over to the new owners. In doing so, they discuss a big part of their inheritance. Everyone has different ambitions: Mario wants to develop restaurants, Marcos wants to grow his own food, and Marina doesn’t even know if she’s staying in Puerto Rico anymore. While unboxing a childhood that unites them, they also unearth their resentments towards each other and end up with a truth that’s making them drown: they are grieving their mother’s death and don’t know how to deal with it.


By Andrés Correa Guatarasma
Tuesday, June 28th at 7:00 pm


Directed by Yolanny Rodríguez Torres
Presented in Spanish

Playwright Bio: Venezuelan-born journalist and playwright, has covered news from more than 25 countries. Graduated Cum Laude in Social Communications, with a MA in Foreign Affairs. Has written for El Universal, AP/Associated Press, Agencia EFE, and El Diario NY. He belongs to the NY Foreign Press Center, HFPA, International Federation of Journalists, Dramatists Guild of America, and the North American Academy of the Spanish Language, branch of “Real Academia Española” (RAE). Bilingual writer, five times finalist in Repertorio Español’s contests. Collaborator of Sundance Institute (Theater Lab Selection Reader) and NY State Council on the Arts (NYSCA).

About Vistiendo santos: After an incident with her husband, Lulú flees from Texas to Santo Domingo, facing a long to-do-list with her family. Nothing has changed in her country, or has it? The reunion with her cousin Noelia contrasts the myths of “the American dream,” while Lulú yearns for a new life that would allow her to comfortably combine the best of both cultures: the Caribbean and USA.


For over 40 years, Luis A. Miranda, Jr. and Dr. Luz Towns-Miranda have championed community activism, viewing philanthropy as a three-pronged approach through giving, fundraising, and advocacy efforts. Along with Luz Miranda-Crespo, Lin-Manuel, Miguel Towns, and their respective spouses, Luis Crespo and Vanessa Nadal, they have created and supported institutions focused on underserved populations in Upper Manhattan, communities throughout NYC, across the country, and in Puerto Rico.

By phone: 1-212.225.9999 | Online:

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Por Nilda Tapia McKenna

La aclamada novela de la chilena Isabel Allende, “Eva Luna”, sube a escena en el Teatro de Repertorio Español, el 3 de junio, 2022, de la mano de la galardonada dramaturga Caridad Svich y dirigida con mucha amplitud de criterio por la colombo-americana Estefanía Fadul, de destacada labor en el teatro de desarrollo norteamericano.

Con un elenco fuera de lo acostumbrado por Repertorio, la producción logró un equipo de personalidades del teatro latinoamericano que hizo brillar esta presentación hasta en los mínimos detalles.

Comencemos por la ambientación escénica que la considero muy bien lograda para esta obra. Gira alrededor de un andamio que se mueve constantemente, al mismo estilo que Pepe Cibrian, hijo, concibió el “Drácula” a finales del Siglo XX, obra que fuera vista ya por tres generaciones de teatristas de Buenos Aires y que aparentemente ha dejado huellas.  Traer esa ambientación para Eva Luna fue tan eficaz como inspiradora. El andamio nos dijo de dónde venía nuestra protagonista. De un ambiente casi precario y en contínuo movimiento, donde la vida de la joven era tan efímera como insegura.  Los distintos caracteres de esta obra se iban añadiendo sigilosamente para cambiar cada escena con esa sutileza que un elenco de creadores ejecuta. Excelente el detalle de movimiento escénico. 


Los momentos cruciales de la vida de Eva fueron extraídos de la novela original con la agudeza selectiva que ha mostrado la Svich en tantas otras ocasiones, ya sea con obras de Vargas Llosa como García Márquez. Ella logra con su síntesis obras de una calidad única en su género.

Andrea Velasco, actriz, directora, cantante chilena, nos creó una Eva Luna con una marcada ingenuidad, nutrida por una innata perspicacia de la niña que tiene que luchar hasta por un suspiro para conseguir sobrellevar los avatares de su sobrecargada vida junto a su madre cuya indigente existencia cuenta solo con su natural perspicacia de madre y protectora. La Eva de la Velasco nunca olvida lo aprendido y sigue escalando posiciones hasta logar su deseado cometido: convertirse en narradora de sus propias vivencias y llegar a brillar haciéndolo.


Entre un excelente elenco, siempre surgen los que más pesan y más conocimiento tienen de las tablas que pisan. La cubana Zulema Clares se pasó de lista en La Señora como en La Patrona. El ecuatoriano Fernando Vieira estuvo estupendo en La Mimí, y el argentino-americano Gonzalo Trigueros supo comunicar su presencia por esa calidad que le brinda el cine a los actores que saben proyectar aún sin parlamento.  Muy notable su Huberto Naranjo como su Kamal.  Y el venezolano Pablo Andrade jugó cómodamente con su papel del joven atractivo Rolf Carlé. Belange Rodríguez sobresalió tanto como Consuelo como con Elvira.


Un renglón aparte merecen Rafael V. Cañals Pérez en la exquisita coreografía de movimiento, como Lauren Kiele DeLeón en coreografiar la lucha escénica como la íntima y el grupo Dots por el diseño escenográfico y por el manejo exquisito del andamiaje. Un logro escénico.

Otro acierto para esta aplaudida producción fueron las proyecciones a cargo de Stefanía Bulvarella.  Y no quisiera cerrar mis comentarios sin mencionar a la asistente de dirección, Valeria Llaneza, cuyo aporte no puede negarse debido a la gran influencia que tuvo esta obra en su concepción muy rioplatense. 

En pocas palabras, podemos decir lo mismo que la gran Isabel Allende dijo luego de presenciar otro acierto de Caridad Svich, “La Casa de los Espíritus”: –cuánto se ha logrado con tan poco dinero y tanto talento. 

Ojalá la pandemia en Chile merme sus efectos y Doña Isabel pueda regresar a los Estados Unidos a ver su Eva Luna en una producción que hará historia.


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By Lia Christine Dewey and Jesus M Garibay – Fellows, BIPOC Critics Lab

On January 1, 2021, Repertorio Español welcomed Rafael Sánchez as their new Executive Artistic Director. In this role, he joins the company’s over half-a-century long legacy. Robert Federico, Executive Director Emeritus, retired after ensuring the growth and evolution of Repertorio Español will be in good hands with Sánchez. He moves on hoping to provide space for what has been a core value during his tenure, young Latinx artists.

“When I was a child I used to play pretend at home. I designed pretty costumes and set pieces. I can’t believe that my job as a grown-up consisted of exactly that… but with real humans.” – Robert Weber Federico

After more than 50 years of centering and celebrating Latinx artists, including developing a series of programs to bring arts education to New York City schools, Robert Federico says he never quite considered his legacy at Repertorio Español as it was unfolding. When he first began at the Repertorio in 1971, he could not fathom the magnitude, nor the impact his work was going to have on the lives of countless Latinx artists. “When you work in theater, to be able to work in a theater is the reward itself,” he said.

Federico began as a designer and administrative volunteer with Repertorio, but quickly became involved with the company more holistically. For him, everything fell into place during a tour to the Festival Cervantino celebration in Guanajuato, México where, for the first time, the company discovered just how significant Repertorio Español actually was. He remembers that not only were they praised and recognized as a professional international company – something the group was unfamiliar with at that time, regularly being seen as a minority theater in the United States – but they began to see clearly the ramifications their newly realized status could have on Spanish-speaking artists and the Latinx public as well. The touring group went back to New York City with a new understanding of the absence and need for a Latinx artistic life. He knew it was there, latent yet dormant.

Reflecting on his fifty-year tenure at the Repertorio, he boasts of the company’s commitment to education and the young Latinx community. Throughout the years, Federico urged the importance of students not only learning about Latinx heritage at school but also being able to see their Latinx heritage on stage: “They needed to watch something that could connect them to their roots, their ancestry, to help them understand why they are here and why they are so important. I wanted them to understand the huge role they were about to play in the country’s development and growth.”

Robert Federico feels that he has done everything he wanted to do at Repertorio, and then some. He shares, “When you love what you do, you don’t think about it as a job, and you also forget that you are working because you are enjoying it all so much.” When the time came to find a successor, he found the perfect candidate in Rafael Sánchez. If he had any advice for him as he continues Repertorio Español’s legacy, he laughingly says “Get enough sleep while you can.”

Executive Artistic Director Rafaél Sanchez stepped into his role on January 1, 2021. However, he was no stranger to Repertorio Español. Sánchez had been working as Robert Federico’s right-hand man for three years, but even before he came to New York City he had connections to Repertorio while working with his own company Tantai Teatro in Puerto Rico. When Hurricane Maria hit the island in 2017, he first went to the Dominican Republic, then to Miami, then eventually New York City – “The first door I knocked was Repertorio’s.”

When Sánchez arrived to work at Repertorio, Federico wasn’t officially looking for the company’s next leader. But Sánchez diligently shadowed Federico and learned the ropes of the company – particularly once the pandemic hit Sánchez proved himself, demonstrating his skills transitioning to online programming, creating Livestream events, and coordinating the Repertorio team remotely – it became clear that they had found the right leader to usher Repertorio into its next phase.

“It’s an honor and a huge responsibility,” affirmed Sánchez. Repertorio Español has been serving New York audiences for over half a century, it is “the” organization for Latinx theater in the United States and maybe even the world, Sánchez remarked. The company’s founders Gilberto Zaldívar and Rene Buch, and later Robert Federico, built Repertorio with a dedication to engage the community they sought to represent. Sánchez welcomes the challenge to step into this robust legacy, he feels an immense amount of support as he implements new ideas to complement the original vision for the company as he develops the next phase in the life of the Repertorio.

What is Sánchez’ new vision for the company? At the top of his list: expanding Repertorio’s offerings and audience base to accommodate even more celebrations of Latinx identity. In his own words, “I want to open Repertorio to the biggest audience ever!” Specifically, he wants to activate younger audiences and artists at Repertorio. “Theater has to reflect what society is, and that starts with companies like Repertorio Español embracing new artists,” – Sánchez already sees this vision growing to fruition through the Miranda Family Voces Latinx Playwriting Competition and the New York Community Trust Van Lier directing fellowship. He hopes to provide even more resources and opportunities to young Latinx artists who need them.

“I just want to share with everyone the joy that I have for having this opportunity, how seriously I take this responsibility…” he expressed. “Everything happens for a reason. I ended up here after a hurricane, [and] Robert [Federico] always says that Repertorio is a place where tragedy takes on new meaning,” said Sánchez.


Repertorio Español was founded in 1968 by Artistic Director René Buch and Producer Gilberto Zaldívar and has become one of the most successful Off-Broadway theatres. The Company was founded with the mission of producing the finest Spanish-language theatre from Latin America and Spain as well as plays written by Latinx artists. The Company presents a rotating repertory of 13 different plays, musicals, and dance concerts with over 300 performances every year. Its productions are seen by over 50,000 people annually at its home, the historic Gramercy Arts Theatre, and on tour. Every year, approximately 20,000 students are introduced to the heritage of Spanish language theatre through its education program, ¡DIGNIDAD!

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Photo: Lucille Oken (Community Relations Manager, Bank of America), Lin-Manuel Miranda, Luis Miranda and Rafael Sánchez (Executive Artistic Director, Repertorio Español).


REPERTORIO ESPAÑOL (138 E. 27 St.) – one of Off-Broadway’s longest-running, continuous theaters, and the only company that presents plays in Spanish with simultaneous English translation in true repertory form in NYC – marked its rebirth after more than a year and a half, with an intimate reception followed by a performance of Junot Díaz’s Pulitzer Award-winning LA BREVE Y MARAVILLOSA VIDA DE OSCAR WAO (The Brief Wondrous Life of Oscar Wao), directed and adapted for the stage by Marco Antonio Rodríguez.

Robert Weber Federico (Executive Producer, Repertorio Español), Cast of The Brief Wondrous Life of Oscar Wao, Marco Antonio Rodríguez (Director and Playwright) & Rafael Sánchez (Executive Artistic Director, Repertorio Español).

Repertorio Español’s reopening was honored with the presence of many supporters, Board members, good friends, and lead sponsors including Lin-Manuel Miranda, Luis MirandaJulio Peterson (Vice President of Real Estate at The Shubert Organization), and representatives from Lucille Lortel and Howard Gilman foundations, and the evening’s reopening sponsors, Bank of America and Telemundo.

This historic reopening was made possible with the support of Bank of America that will match any contribution over $25. Bank of America will donate an equal amount up to $100,000, thereby doubling the impact of any contribution made to Repertorio. This match signifies a vital challenge that will allow the renowned theatre company to continue supporting the innovative work of Latinx artists in the community and celebrating their voices and culture now by being online also with the entire world.

Emphatically, Repertorio Español wants to express its sincerest gratitude to Senate Majority Leader Charles Schumer for his steadfast support and advocacy on behalf of the performing arts venues that were closed during the pandemic crisis. His tenacity, leadership, and commitment towards the COVID19 Relief Bill and the American Rescue Plan, made it possible for Repertorio to continue to exist and finally to be reborn.  ¡Gracias Senator Schumer!


Our community has been terribly impacted by the pandemic and the temporary closure of theaters, but it is time to meet again. To help us bring back all the productions you love, for any contribution you make over $25, Bank of America will match an equal amount to Repertorio up to $100,000. Help us get back on our feet!


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FROM THE FOUNTAIN by Joel Pérez for first place, in the second edition of the competition. The playwright will receive a cash award of $3,000.

Repertorio Español announces the winners of The 2021 Miranda Family Voces Latinx Playwriting Competition, an initiative to develop and promote Latinx plays that resonate with and accurately depict the Latinx experience. The competition is inclusive of all playwrights who are at least 18 years of age and residents of the United States or Puerto Rico.

“I am so humbled by and grateful for this incredible honor. The Voces Latinx National Playwriting Competition showcases so many thought-provoking, exciting, and vital pieces of theater that should be part of the canon of American theater. I urge theaters across the country to develop and program the plays by the artists featured in this competition and open your doors and stages to a diverse range of Latinx voices. We are here. We have been here. We are American theater.” – Joel Pérez

The 2022 Miranda Family Voces Latinx National Playwriting Competition begins now! Submissions are due by Tuesday, February 1, 2022. A readings series will be held in June of the top 5 plays. For info please visit or email


1st Place: (Award: $3,000)
FROM THE FOUNTAIN by Joel Pérez from New York, NY.

Playwright Bio: Joel Pérez is an award-winning actor and writer living in NYC. His theater work includes Fun Home (Broadway), Kiss My Aztec! (La Jolla Playhouse) and Sweet Charity (New Group; Lortel Award for Outstanding Supporting Actor in a Musical). TV work includes Jesus Christ Superstar Live! (NBC), Person of Interest (CBS) and Odd Mom Out (Bravo). He writes and performs with the musical theater sketch show SHIZ. He recently wrote and performed Black Beans Project at The Huntington Theatre and his new solo musical comedy Playing With Myself at Ars Nova. His play, The Church of the Holy Glory, premiered at Ars Nova ANTFest 2018. He is a 2021 Time Warner 150 Artist Grant recipient for his original comedy pilot You’re Tired. You’re Poor. He is a 2019 NYSCA/NYFA Artist Fellow in Playwriting from NYFA. Follow him at @misterjoelperez and visit

About FROM THE FOUNTAIN: After an extended self-imposed exile, Fernando returns to his hometown to attend the funeral of his Pentecostal pastor father, Ernesto, at the church he grew up in. Memories flood Fernando’s mind as he attempts to sort through the wreckage of his fractured family. From the Fountain is a play about faith, home, and what we are willing to sacrifice for our family.

2nd Place: (Award: $2,000)
MACHINE LEARNING by Francisco Mendoza from Brooklyn, NY.

Playwright Bio: Francisco Mendoza is an Argentinian writer currently living in Brooklyn, NY, after spending several years in Brazil. His work has been developed or presented at The New Group, the MacDowell Colony, and Northern Stage, among others. His scripts include stage plays Machine Learning (The Lark’s Playwrights Week, Yale Drama Series Runner Up, San Diego Rep Latinx Festival), Tooth For Tooth (Finalist, Sundance Theater Lab; Finalist, Princess Grace Fellowship), and Patriarch (Great Plains Theatre Conference).

About MACHINE LEARNING: When his estranged, alcoholic father is diagnosed with liver cancer, computer scientist Jorge dreams up a nursing app to manage the disease in his stead. As the machine’s capabilities grow, however, the possibility of leaving it in charge of the treatment becomes more real, forcing Jorge to reckon with his responsibilities as a son—and as a creator.

3rd Place: (Award: $1,000)
AGOSTO INFINITO by Antonio García del Toro from Guaynabo, Puerto Rico.


Playwright Bio: Antonio García Del Toro is a Puerto Rican playwright, theatre director, and professor of language and literature, backed by a vast trajectory in professional theatre from a young age. His works in literary criticism and creation have been published in numerous specialized magazines. For more than fifty years he has been an active participant in the world of professional Puerto Rican theatre, most recognized for his direction and dramaturgy. Dr. García del Toro, recently retired from the Inter American University of Puerto Rico where he taught courses in Puerto Rican Language and Literature, Italian, and Theatre for more than thirty years.

About AGOSTO INFINITO: Following the death of his young son, a professor and his wife flee from a country ruled by one of the most fearsome dictators of the Twentieth Century. Under a new assumed identity, the couple open and operate a bookstore in a small city and spend the following years under the fear of their past catching up to them. The arrival of a young psychologist disrupts their present forcing them to relive the past and helping them make way towards a better future.

Runners Ups (Award: $500)

THE EL PASO PLAY: 23 ACTS OF KINDNESS by Gregory Ramos from Rancho Mirage, CA

Playwright Bio: Professor and Chair of the University of Redlands Department of Theatre Arts where he teaches directing, playwriting, and diversity in the U.S. American Theater. He was born and raised in Los Angeles, began his professional career as a dancer, and has taught at the University of Texas at El Paso and The University of Vermont. MFA, Playwriting UCLA. He’s a member of the Actor’s Equity Association and The Lincoln Center Director’s lab.

About The El Paso Play: 23 Acts of Kindness: Inspired by interviews with community members in El Paso, Texas in the months after the mass shooting at Walmart in 2019 and told through 12 characters’ stories and impressions of the event, the play explores immigration, gun control, and the rise of white supremacy in America. Part docudrama, part theatrical montage, and part prayer for the future of America, a community reaches toward our shared humanity and collective healing.

PRINCESS CLARA OF LOISADA by Matt Barbot from Brooklyn, NY

Playwright Bio: Matt Barbot is a writer from Brooklyn, NY. His play El Coquí Espectacular and The Bottle of Doom received its world premiere at Two River Theater in January of 2018. The Venetians was a winner of Roundabout Theatre Company’s 2019 Columbia@Roundabout New Play Series. Matt received his MFA from Columbia University and was recently a New York Theatre Workshop 2050 Fellow and a member of The Civilians’ R&D Group.

About PRINCESS CLARA OF LOISADA: With Mamá long gone and Papá in a trance, Lower East Side middle schooler Clara and her older brother José try to distract themselves from their bleak reality with fanciful stories. When strange events make the siblings realize these stories might be true – that, in fact, they may be making them come true – Clara is faced with a choice, and José will fight a magical battle for his sister’s destiny.

By phone: 1-212.225.9999 | Online:

For over 40 years, The Miranda Family has championed community activism. They have created and supported institutions that have served underserved populations throughout New York City, across the country, and in Puerto Rico. They continue to foster the family’s commitment to advocacy for education, the arts, and social justice – along with a sustained focus on relief and rebuilding efforts in Puerto Rico post-Hurricane Maria.

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The Winners of THE 2020 MIRANDA FAMILY VOCES LATINX Playwriting Competition

MALAS MAÑAS by Puerto Rican Alejandra Ramos and THAT DRIVE THRU MONTEREY by Mexican American Matthew Paul Olmos tie for first place, in the first edition of the competition. The playwrights will receive a cash award of $3,000.

Repertorio Español announces the winners of The 2020 Miranda Family Voces Latinx Playwriting Competition, an initiative to develop and promote Latinx plays that resonate with and accurately depict the Latinx experience. The competition is inclusive of all playwrights who are at least 18 years of age and residents of the United States or Puerto Rico.

“The act of writing is an intimate process full of uncertainty where most of the time you never truly know what will happen with the play you are writing. This leads to a thrilling, exciting and sometimes scary rollercoaster. Malas mañas is a Puerto Rican story that carries universal themes. I wrote it from within without any kind of expectations. Winning The Miranda Family Voces Latinx Playwriting Competition, is a beautiful reassurance that when you are true to yourself and write the stories you want to write, the world will be open to hear. I believe our Latinxs voices need to continue to be heard now louder than ever. The Miranda Family and Repertorio Español are committed to help make this happen and I can’t be more grateful.” – Alejandra Ramos

“At a time when Latinx stories and voices are needed both in the arts and in the United States at large, unique initiatives like Repertorio Español’s Voces Latinx are vital in creating a space for this and the next generation of Latinx artists. While our works go often unseen by mainstream theatrical institutions, community-based organizations such as Repertorio Español remain a home where our stories are valued as an essential voice in this country’s national conversation.” – Matthew Paul Olmos

The 2021 Miranda Family Voces Latinx National Playwriting Competition begins now! Submissions are due by Monday, February 1, 2021. A readings series will be held in June of the top 5 plays. For info please visit or email


1st Place: (Award: $3,000)

MALAS MAÑAS by Alejandra Ramos from New York, NY

 About Malas Mañas: A 37-year-old ex-convict is released after serving a long sentence for a crime he committed in self-defense. Once he is paroled, he decides to reconnect with his father confronting the difficulties of adapting and re-integrating back into society by starting with his own family.

Playwright Bio: Alejandra Ramos is a Puerto Rican playwright, actress, director, and producer based in NYC. She holds a B.A in Dance and Theater, from The University of Puerto Rico, and an M.A. in Scenic Arts from the University of Murcia, Spain. Author of En la azotea, 10 piezas cortas de teatro (Ed. Callejón 2016). Her most recent work was her direction of the Equity Workshop Agua, vida y tierra produced by WWTNS? (MITU 580, 2019). Recent original plays include, Broken Words (Step-Up Artist in Residence at Pregones/PRTT, April 2019), A Taste of Loving Sea (Fuerza Fest, May 2019), and Paris (En Construcción, New Works Latin American Writers, February 2019).

1st Place: (Award: $3,000)

THAT DRIVE THRU MONTEREY by Matthew Paul Olmos from New York, NY

About That Drive Thru Monterey: Inspired by the life of the playwright’s mother. It is the story of a young Mexican American woman growing up in Los Angeles. In the play, she experiences her first love and deals with what it means to assimilate into this country. Through mysterious premonitions, she also sees what lies ahead in her life.

Playwright Bio: A three-time Sundance Institute Fellowship/Residency recipient, Humana Festival Commissioned Playwright, New Dramatists Resident, Center Theatre Group LA Writer, Oregon Shakespeare Festival Black Swan Playwright, Princess Grace Awardee in Playwriting, Repertorio Español Met Life Nuestra Voces honoree, La MaMa’s Ellen Stewart Playwright Awardee as selected by Sam Shepard. Mentored by Ruth Maleczech through Mabou Mines/SUITE; Taylor Mac through Cherry Lane’s Mentor Project. Former fellow/resident at Baryshnikov Arts Center, INTAR, Latinx Theatre Commons, New York Theatre Workshop, Primary Stages; Ensemble Studio Theater lifetime member; and a proud Kilroys nominator. His work has been presented nationally and internationally and has been published as well as taught at universities.

3rd Place: (Award: $1,000)

(trans)formada by lily gonzález from San Antonio, TX

About (trans)formada: Sam is queer, a little trans, and a child of Mexican immigrants living in the Texas Hill Country. They’re graduating high school and trying to figure out how to express their gender — to themselves and to the world. Just as Sam is building the courage to present their gender to their mother, they go to a high school party. Everyone is way too into each other and drinking way too much. Amidst the debauchery, a brave and strange set of rituals ensues. “(trans)formada” is a practice in healing. It is about redefining and coming back to family.

Playwright Bio: lily gonzález (they/them) is a playwright from Texas who graduated from UT Austin with a Bachelor’s in Theatre & Dance / English. Their work has been developed with The John F. Kennedy Center and Austin Latinx New Play Festival. Their play (trans)formada was runner up for the Latinx, Rosa Parks, & National Undergraduate Playwriting Award from The John F. Kennedy Center in 2019. They’re currently working on a play about queer community and ego death set in West Texas.

Runners Up (Award: $500)

CALLING PUERTO RICO by Juan Ramírez, Jr. from Bronx, NY

About Calling Puerto Rico: In New York City, Joel is an amateur radio operator who has not been out of his attic apartment for about a year. He gets news about Tropical Storm Maria and the potential it has to harm Puerto Rico. Worried, he decides to reach out over the radio to a man he hasn’t spoken to in a long time, his grandfather, Aníbal.

Playwright Bio: Juan Ramírez, Jr. is an internationally produced, award-winning dramatist, actor, and director. Calling Puerto Rico is a 2020 Bay Area Playwrights Festival Finalist and recipient of 2019 Bronx Recognize Its Own Award, part of NYC Department of Cultural Affairs. The first reading was at IATI and an excerpt was presented part of Infinite Stories with the NYC LatinX Playwriting Circle. He’s developed and produced works with Downtown Urban Arts Festival, LaTea, Ingenio Milagro, Dixon Place, Raíces, HBMG, BBTF and The Bronx Repertory Company. He’s a Dramatist Guild member with a B.A. from Lehman College and an MFA from Tisch.

DERECHO by Noelle Viñas from Brooklyn, NY

About Derecho: In Northern Virginia, sisters Eugenia and Mercedes Silva are surrounded by old friends and lovers as Eugenia fights for endorsements on her primary campaign for a seat in the Virginia General Assembly, hoping to join the wave of women of color elected to public office. As a storm brews outside, the sisters must confront how traditional Latino family values conflict with an American definition of success that is always changing. An experimental play that explores how fragmented identity can tear you apart.

Playwright Bio: Noelle Viñas is a Uruguayan American playwright, educator, and theater-maker from Springfield, Virginia, and Montevideo, Uruguay. Her play Derecho won the 2019 John Gassner Playwriting Award, was a 2019 Playwrights Realm Writing Fellowship semi-finalist, and will be in the 2020 Bay Area Playwrights Festival. Her play La Profesora was produced by TheatreFirst and is in development for a podcast called Abuelito with We Rise Production. Other past favorite jobs include running Annandale High School’s theater program alongside Theater Without Borders in Virginia and producing her play Apocalypse, Please with Kevin Vincenti in San Francisco. She is a resident playwright at Playwrights Foundation, currently attends Brooklyn College for her MFA in Playwriting, and is a proud member of the NYC Latinx Playwrights Circle.

For over 40 years, The Miranda Family has championed community activism. They have created and supported institutions that have served underserved populations throughout New York City, across the country, and in Puerto Rico. They continue to foster the family’s commitment to advocacy for education, the arts, and social justice – along with a sustained focus on relief and rebuilding efforts in Puerto Rico post-Hurricane Maria.


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What's New & Recent Press


Michael Palma Mir Photographer Repertorio 2019 Cast of La Gringa 040

La gringa, Photo by Michael Palma Mir.

Repertorio Español, the multiple award-winning Latinx theater company, is proud to announce Repertorio en Casa On-Demand, a new platform that presents audiences with an array of works for streaming online, reaching people across cultural and physical boundaries throughout the world.

The new initiative opens with the launch of The House of Bernarda Alba by Federico García Lorca, one of the most popular and emblematic productions in theatre history. This production will soon celebrate its 22 years in Repertorio Español, making it one of the longest-running plays in Spanish in the country. The production originally opened in March of 1999 under the direction of the Company’s Co-Founder and Artistic Director René Buch, who passed away this April.

michael palma for repertorio alba 017 (1)La casa de Bernarda Alba, Photo by Michael Palma Mir.

“To continue to serve our audiences, we are planning to add more plays to stream including Repertorio’s most beloved production, La Gringa, as well as the epitome of Spanish classic literature, El Quijote.  Others will surely follow. For the return to live performances, Repertorio is planning a premiere of Caridad Svich’s adaptation of Isabel Allende’s Eva Luna to be directed by Estefanía Fadul” says Robert Weber Federico, Executive Producer at Repertorio Español.

Other plays currently offered by Repertorio en casa On-Demand are Vagón (Boxcar), based on a true story reported on CNN in 1987 about several men that crossed the border in a Boxcar, as well as with Ana Caro Mallén de Soto’s Valor, agravio y mujer (Courage, Betrayal and A Woman Scorned), a Spanish Golden Age masterpiece that is very rarely produced. All productions are presented in Spanish with English Subtitles and are available on the Company’s website

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