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REPERTORIO ESPAÑOL ANNOUNCES THE WINNERS OF THE 2022 MIRANDA FAMILY VOCES LATINX NATIONAL PLAYWRITING COMPETITION

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LAS VIDAS ROTAS by Yessi Hernández won first place in the third edition of the competition. The playwright will receive a cash award of $3,000.

September 2022 – New York, NY – Repertorio Español announces the winners 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. The competition is inclusive of all playwrights who are at least 18 years of age and residents of the United States or Puerto Rico.

“As artists, we have the huge responsibility of telling our stories. As we share them, we also learn, we connect with others, and we heal. We realize that by expressing what deeply moves us, we have the chance to make a difference. We can inspire, we can create awareness, and we can have justice. I’m profoundly honored and humbled by this life-changing opportunity that Repertorio Español and The Miranda Family are giving to our community. Thank you for building a platform to showcase the valuable and necessary Latinx voices on American stages, and for opening a door to have these conversations that, many times, we can only hold in the extraordinary catharsis of theater.” – Yessi Hernández

The 2023 Competition begins now! Submissions are due by Thursday, December 15, 2022. A reading series will be held in Spring 2023. For info, please visit repertorio.nyc/voceslatinx or email aav@repertorio.org.

WINNERS OF THE 2022 MIRANDA FAMILY VOCES LATINX NATIONAL PLAYWRITING COMPETITION

1ST PLACE: (AWARD: $3,000)
LAS VIDAS ROTAS by Yessi Hernández from New York, NY
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 the 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 amid one of the most controversial governments in history.

2ND PLACE: (AWARD: $2,000)
BLACK MEXICAN by Rachel Lynett from Minneapolis, MN
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 trying to prove that she is Latine. As the women in this play discover the truth about themselves and each other, they also must face the internal bias that allowed a white woman to be Cuban but don’t allow a Belizean to call herself Latine.

3RD PLACE: (AWARD: $1,000)
AGUA POR TODAS PARTES by Karina Curet from New York, NY
Playwright Bio: Born and raised in Caguas, Puerto Rico. Curet 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.

RUNNERS UP (AWARD: $500)

THE CHRYSALIS by Miguel Enrique Fiol-Elias from Edina, MN
Playwright Bio: Miguel Enrique Fiol-Elias is a Puerto Rican Neurologist at the University of Minnesota, has lived in the 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 of 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. Raul, as he comes out to his family, discovers the secret gay love affair of his deceased grandfather, whose spirit then comes to his help.

VISTIENDO SANTOS by Andrés Correa Guatarasma from New York, NY
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). A bilingual writer, five times finalist in Repertorio Español’s contests, he is a 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 the United States.

ABOUT THE MIRANDA FAMILY
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.

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A LEGACY IN TRANSITION: REPERTORIO ESPAÑOL REMINISCES WITH ROBERT FEDERICO AND WELCOMES RAFAEL SÁNCHEZ

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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.

ROBERT FEDERICO’S LEGACY
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“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.”

RAFAEL SÁNCHEZ NEW VISION
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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.

VISIT REPERTORIO >

ABOUT REPERTORIO ESPAÑOL
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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REPERTORIO ESPAÑOL CELEBRATES ITS REOPENING WITH LIN-MANUEL MIRANDA, PATRONS, BOARD MEMBERS, AND GOOD FRIENDS

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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).

HELD WEDNESDAY, OCTOBER 6th, 2021, IN NYC

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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REPERTORIO ESPAÑOL ANNOUNCES THE LAUNCH OF ‘REPERTORIO EN CASA ON-DEMAND’ WITH FEDERICO GARCÍA LORCA’S ‘THE HOUSE OF BERNARDA ALBA’

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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 repertorio.nyc.

GENERAL INFORMATION
By phone: 212.225.9999 | Online: repertorio.nyc

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REPERTORIO ESPAÑOL ANNOUNCES THE FINALISTS OF THE 2020 MIRANDA FAMILY VOCES LATINX PLAYWRITING COMPETITION

Repertorio Español announces the finalists 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 by playwrights of all racial and national backgrounds. The company will stream readings of the five finalists after having received 180 scripts written in English or Spanish by emerging playwrights from the entire United States and Puerto Rico.  All readings will premiere on the Company’s Facebook and YouTube sites which can be found using the social handle repertorionyc.

For more information visit repertorio.nyc.

The winners will be announced in the Fall and the prizes will consist of:

  • Grand Prize Winner: $3,000
  • 2nd Place: $2,000
  • 3rd Place: $1,000
  • 2 Runners up $500

ABOUT THE MIRANDA FAMILY FUND
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.

THE 2020 MIRANDA FAMILY ‘VOCES LATINX’ PLAYWRITING COMPETITION FINALISTS:

ALEJANDRA RAMOS – MALAS MAÑAS

Alejandra Ramos ES

Directed by Fernando Then
Reading: Tuesday, June 23rd, 6 pm
Presented in Spanish

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).

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.

JUAN RAMÍREZ, JR. – CALLING PUERTO RICO

Juan Ramirez, Jr. Calling Puerto Rico ES

Directed by Cándido Tirado
Reading: Friday, June 26th, 6 pm
Presented in English

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. www.JuanRamirezJr.com

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.

lily gonzález – (trans)formada

Lily Gonzalez (trans)formada EN)

Directed by Kathleen Capdesuñer
Reading: Saturday, June 27th, 6 pm
Bi-lingual

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.

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.

NOELLE VIÑAS – DERECHO

Noelle Viñas DerechoEN

Directed by Gerardo Gudiño
Reading: Sunday, June 28th, 6 pm
Presented in English

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.

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.

MATTHEW PAUL OLMOS – THAT DRIVE THRU MONTEREY

Matthew Paul Olmos That Drive Through Monterrey EN

Directed by Carlos Armesto
Reading: Monday, June 29th, 6 pm
Presented in English

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. www.matthewpaulolmos.com.

About That Drive Thru Monterey: Inspired by the life of the playwright’s mother. 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.

GENERAL INFORMATION
By phone: 1-212.225.9999 | Online: repertorio.nyc
Monday 8:00 am – 6 pm | Tuesday – Friday 8 am – 8 pm | Saturday 10 am – 8 pm | Sunday 10 am – 7:00 pm

ABOUT REPERTORIO ESPAÑOL
Founded in 1968 by stage director René Buch and the late producer Gilberto Zaldívar, and joined by Robert Weber Federico in 1971, who now serves as Executive Producer, REPERTORIO has presented an unparalleled body of theater that promotes and divulges the rich heritage of Hispanic theater. Spanish masters like Calderón, Lope de Vega and García Lorca, renowned playwrights from Latin America and the growing body of American writers who capture the Latino experience in the U.S.—from NYC to Portland, LA, NYC, Washington DC, Texas, Denver and Chicago– are all at home in REPERTORIO’s programming. Also, the company has presented acclaimed translations of plays by Edward Albee, Shakespeare, Tennessee Williams, Gian Carlo Menotti, Eduardo De Filippo and Noel Coward.

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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It is with deep sorrow that Repertorio EspañoI announces the passing of its Co-founder and Artistic Director, René Buch.

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René Buch, Co-founder and Artistic Director of Repertorio Español passed away at home on April 19th, 2020, in his 94th year.

Born on December 19, 1925, in the city of Santiago, Cuba, Buch went on to receive a doctorate in law from Universidad de La Habana in 1948. The forties were an important period for theater in Cuba when world-class artists took refuge in La Habana during World War II. Buch was inspired to write his own theater work after being in the audience for every production by French playwright and director Louis Jouvet (1887-1951). Jouvet could not return to his native France at the time because of the war and he continued to work in Cuba, indirectly motivating a young Buch. At the age of twenty, Buch won the National Prize from Patronato del Teatro after entering his first playwriting competition with Del agua de la vida [From the Waters of Life.] This play marked a new era for Buch; he earned support from the organization Pro Arte de Oriente, and under its auspices, founded Acción Teatral de Actores to produce new Cuban theater.

In 1949, he enrolled in the Yale Drama School and taught Spanish language and literature while pursuing his MFA.  After graduating, he was Associate Editor for the Arts at Visión magazine and, simultaneously, Editor of the cultural section at El Diario La Prensa. He was then editor for the Spanish edition of the Journal of the United Nations. Buch later became head of Spanish creative copy for J. Walter Thompson as well as book editor for Reader’s Digest.

By 1968, Buch was back in the theater with La dama duende, which earned him awards for Best Director and Best Work in Spanish by the Association of Latin Entertainment Critics of New York (ACE). Buch and producer Zaldívar joined forces with Robert Federico in 1971 and moved their theater company to the Gramercy Arts Theatre, under its new name, Repertorio Español. The company began in its mission to produce canonical theater in Spanish as well as works translated into Spanish.  Under Buch’s direction, Repertorio established a collaborative acting ensemble, where actors would rotate between different plays. His vision led Repertorio to great success, including national and international tours of the company’s multiple productions.

Repertorio Español Annual Gala

Buch worked his way through an impressive array of theater works, ranging from 17th-century classics to new Latinx theater. Notably, Buch directed canonical works from Golden Age masters as well as the New York premieres of a remarkable display of contemporary theater in Spanish. Buch’s prolific work as director includes productions for CSC, the Pearl Theater, The Milwaukee Rep, Albany’s Capital Rep, La Compañía de Albuquerque, Washington’s Folger Theatre, the Oregon’s Ashland Shakespeare Festival and The Old Globe in San Diego. For the musical stage, he directed zarzuelas and some of Repertorio’s greatest musical anthologies, making music part of his vision for the company artistic legacy.

His impressive talents made him a visionary and numerous awards serve as tribute to his craft. These include an OBIE for Artistic Trajectory (1989), a Drama Desk Award for Artistic Achievement (1996), an ENCORE Award for forty years of Sustained Excellence in Management by the Arts & Business Council of New York (2007), and Theatre Communications Group’s Theatre Practitioner Award (2008) among others. Buch was awarded a Lifetime Achievement OBIE Award (2011) and was bestowed with The Order of Isabella the Catholic (2012) by King Juan Carlos I of Spain for his contributions to Spain-U.S. cultural relations.

Throughout his life, Buch’s creativity not only shone brightly in the world of Theatre, but also as a lawyer, journalist, editor, and painter; his recipe for Cuban black beans was featured in the New York Times (1969). René’s artistic legacy will go on, inspiring theatre-makers, goers, and actors alike.

A memorial service will be announced as soon as permitted. The family and friends of René would like to extend their sincerest gratitude to all the health and care workers during these difficult times.

About Repertorio Español >

Photo by Michael Palma Mir.


“René was a wonderful director to work with. He was welcoming and eager to collaborate.  He was known for being demanding, and yes, he was quite demanding. But it was all to serve the art. His artistry was all about exploration and discovery – it was about the possibilities. I was so blessed beyond blessings that he directed ‘La gringa’”. – Carmen Rivera, Playwright of ‘La gringa’ with 24 years in Repertory.

“I would never forget seeing the Spanish version of ‘Anna in the Tropics’ at Repertorio, and being in awe of his direction, the economy, and simplicity of his production, which made the language soar to greater heights”. ­– Nilo Cruz, Pulitzer Prize Winning Playwright.

“René liberated me from naturalism into the world of the theatrical imagination. I would have never been the playwright I became without Rene’s love, knowledge, talent, and mentorship”.  – Eduardo Machado, Playwright.

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REPERTORIO ESPAÑOL AND THE MIRANDA FAMILY ANNOUNCE THE MIRANDA FAMILY ‘VOCES LATINX’ NATIONAL PLAYWRITING COMPETITION

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Repertorio Español, the 2019 Drama Desk Award-winning theater company, in partnership with the Miranda Family, are proud to present the Miranda Family ‘Voces Latinx’ National Playwriting Competition, a new initiative that aims to develop and promote Latinx plays and playwrights. Beginning with Lin-Manuel Miranda’s time at Repertorio Español as a high school intern, and more recently with grants supporting the company, the Miranda Family has advanced Latinx voices and stories onstage. With this new project, the Miranda Family continues to honor its commitment to Repertorio Español.

“I swept the stage as an intern at Repertorio Español. We did a very early reading of In The Heights there, and now, our family is proud to support this important open playwriting competition,” says Lin-Manuel Miranda. “As a community, we need to find ways to uncover unheard voices and break barriers that keep Latinx artists from telling their story.”

Submissions are welcome from all ethnic and racial backgrounds but plays must resonate with and accurately depict the Latinx/Hispanic experience. All submissions should be new and unproduced works with a minimum running time of 75 minutes. They can be written in Spanish and/or English. Playwrights must be at least 18 years of age and be residents of the United States, including Puerto Rico. Submissions are due by Wednesday, April 15th, 2020. For more information about the competition and Repertorio Español please visit: repertorio.nyc/voceslatinx.

ABOUT THE MIRANDA FAMILY FUND
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.

tn-500_img_5615Lin-Manuel Miranda, Repertorio Español Founding Artistic Director – René Buch, Executive Producer- Robert Weber Federico & Selenis Leyva
at The 56th Annual Obie Awards. Source: Broadwayworld.

ABOUT REPERTORIO ESPAÑOL
Repertorio Español was founded in 1968 by Stage Director René Buch and the late Theatre 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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Luis Miranda, Shubert VP Julio Peterson and Lin-Manuel Miranda at Repertorio Español 46th Annivesary Celebration.

TICKETS AND GENERAL INFORMATION
By phone: 1-212.225.9999 | Online: repertorio.nyc
In-person: 138 East 27th Street, New York, NY 10016
(Between Lexington and Third Avenues. Subway: # 6 to 23rd Street, W or R to 28th Street)
Monday 8:00am-6pm | Tuesday – Friday 8am-8pm|Saturday 10am-8pm | Sunday 10am-7:00pm

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