front cover of La Voz Latina
La Voz Latina
Contemporary Plays and Performance Pieces by Latinas
Edited by Elizabeth C. Ramirez and Catherine Casiano
University of Illinois Press, 2011
Elizabeth C. Ramírez and Catherine Casiano bring together a collection of plays and performance pieces by innovative Latina playwrights. Surveying Latina theatre in the United States from the 1980s to the twenty-first century, the editors present works displaying a variety of forms, themes, and genres, expanding the field of Latina theatre while situating it in the larger spectrum of American stage and performance studies. Ramírez and Casiano provide historical context and a production history for each work and a biography of, and artistic statement from, each playwright.

Contributors: Yareli Arizmendi, Josefina Báez, The Colorado Sisters, Migdalia Cruz, Evelina Fernández, Cherríe Moraga, Carmen Peláez, Carmen Rivera, Celia H. Rodríguez, Diane Rodriguez, and Milcha Sanchez-Scott. The volume also includes commentary by Kathy Perkins and Caridad Svich.

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Macbeth
William Shakespeare
Arizona Center for Medieval and Renaissance Studies, 2021

In Migdalia Cruz’s Macbeth, the Witches run the world. The Macbeths live out a dark cautionary tale of love, greed, and power, falling from glory into calamity as the Witches spin their fate. Translating Shakespeare’s language for a modern audience, Nuyorican playwright Migdalia Cruz rewrites Macbeth with all the passion of the Bronx.  

This translation of Macbeth was presented in 2018 as part of the Play On! Shakespeare project, an ambitious undertaking from the Oregon Shakespeare Festival that commissioned new translations of 39 Shakespeare plays. These translations present the Bard’s work in language accessible to modern audiences while never losing the beauty of Shakespeare’s verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print—a new First Folio for a new era.

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Richard III
William Shakespeare
Arizona Center for Medieval and Renaissance Studies, 2021
Playwright Migdalia Cruz breathes new life into Richard III.
 
Nuyorican playwright Migdalia Cruz unpacks and repositions Shakespeare’s Richard III for a twenty-first-century audience. She presents a contemporary English verse translation, faithfully keeping the poetry, the puns, and the politics of the play intact, with a rigorous and in-depth examination of Richard III—the man, the king, the outsider—who is still the only English king to have died in battle. In the Wars of the Roses, his Catholic belief in his country led to his slaughter at Bosworth’s Field by his Protestant rivals. In reimagining this text, Cruz emphasizes Richard III’s outsider status—exacerbated by his severe scoliosis, which twisted his spine—by punctuating the text with punk music from 1970s London. Cruz’s Richard is no one’s fool or lackey. He is a new kind of monarch, whose dark sense of humor and deep sense of purpose leads his charge against the society which never fully accepted him because he looked different.

This translation was written as part of the Oregon Shakespeare Festival’s Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of "The Bard" in language accessible to modern audiences while never losing the beauty of Shakespeare’s verse. These volumes make these works available for the first time in print—a new First Folio for a new era. 
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Theatre and Cartographies of Power
Repositioning the Latina/o Americas
Edited by Jimmy A. Noriega and Analola Santana
Southern Illinois University Press, 2018
From the colonial period to independence and into the twenty-first century, Latin American culture has been mapped as a subordinate “other” to Europe and the United States. This collection reconsiders geographical space and power and the ways in which theatrical and performance histories have been constructed throughout the Americas. Essays bridge political, racial, gender, class, and national divides that have traditionally restricted and distorted our understanding of Latin American theatre and performance. Contributors—scholars and artists from throughout the Americas, including well-known playwrights, directors, and performers—imagine how to reposition the Latina/o Americas in ways that offer agency to its multiple peoples, cultures, and histories. In addition, they explore the ways artists can create new maps and methods for their creative visions.
 
Building on hemispheric and transnational models, this book demonstrates the capacity of theatre studies to challenge the up-down/North-South approach that dominates scholarship in the United States and presents a strong case for a repositioning of the Latina/o Americas in theatrical histories and practices.
 
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