A Piece that Still Needs to Fulfill Its Purpose
Almost ten years ago in 2016, John Leguizamo workshopped “Latin History for Morons” at La Jolla Playhouse. I remember being so pumped to see the work… Leguizamo hit many marks and brought visibility to various aspects of Latin American history, such as Spain’s conquest, La Batalla de Puebla, or the battle against the French in Puebla, the true 5 de Mayo, not Mexican Independence like many in the States believe, which is celebrated on September 16th, and so on. I recall audience members having questions for Leguizamo about some of the facts in the show, which he did not address, and that was weird.
Come 2025, Oceanside Theatre Company is producing this show for the first time without Leguizamo as the lead. Comedian and writer Rick Najera has taken the reins for San Diego with Herbert Siguenza in the direction. The plot begins with Rick recounting his son’s experience with the poorly told history of Latin America in school. This production features new, updated beats with added information regarding the current climate in the country, as well as localized material, as Najera is from San Diego and grew up in La Mesa. Some of the updated jokes are funny and even take jabs at Oceanside, which I found funnier. Others were edgy, and, like with everything, it’s an individual feel. Najera displayed a range of accents, from British to Texan and Spanish (from Spain) with comedic flair.
Douglas Cumming’s intricate set design, recreating a classroom with various flags and a chalkboard, is nicely complemented by Tori Jones’s dress and props, which evoke a lecture-type atmosphere. Kevin “Blax” Burroughs’s lighting accentuates moments and movements, complemented by Estefania Ricalde’s well-timed sound. Ricalde is also stage managing.
The piece features an intermission, and although many of us here are fans of one-act shows, we appreciated it there.
With that said, there were drawbacks; what started decently, with the jokes mentioned and opening with Latin American heroes like Desi Arnaz, the Cuban entertainment visionary whose series, I Love Lucy, is only one of many notable contributions to the industry to this day, started to deflate along with loose facts and botched names through and odd pace.
Key lands in Mexican history, included in the show, like Tenochtitlán, were botched to “Tenochtlan”, and pues no. Others came in variations, such as “Chaca” instead of “Chanca”, the indigenous Peruvian group, or “Bernardo Galves” instead of Bernardo de Gálvez, the Spanish military leader. Is this nitpicking? Nope. We have yet to see Alejandro Jamilton and/or Abron Licon if this were to be U.S. History for Morons.
The fact is that assimilation also brings a different way of spelling and pronunciation, because in the English language, for example, palabras esdrújulas are less common. The word “esdrújula” in English translates to “proparoxytone,” a type of word where the stress falls on the third-to-last syllable, as seen in Spanish with examples like “música” (music) or “pájaro” (bird). Gálvez and Nájera are also perfect examples. Instead of stressing the a’s, the second half is stressed to accommodate the pronunciation.
I was not familiar with Rick Najera’s work, but from the credentials and the beginning of the first act, he has the chops. What seemed to need tweaking is direction and dramaturgy.
So, what does this all mean? If works like this, are going to be produced, where a community that continues to be oppressed and discriminated against is front and center, then it needs to be round and tight, or the purpose gets lost. Otherwise, the oppression continues so, how could it be “Latin History for Morons”?
I have said it once, and I will say it again, mainly when works like this are being produced in a city overlooking the United States and Mexico. There are no excuses.
Latin History for Morons is currently playing until June 8. For more information, please click here.
