CASTA

bilingual hybrid performance piece
created with Salvage Vanguard Theater

ENSEMBLE: 7+

Casta is inspired by a series of casta paintings by Miguel Cabrera, a mixed-race painter from Oaxaca. Casta paintings were a unique form of portraiture that grew in popularity over the 18th century in Nueva España that depicted different racial mixtures arranged according to a hierarchy defined by Spanish elites.

When an apprentice is commissioned to paint a casta series for a wealthy patron, he tries to conform his work to a set hierarchy but finds the images revolt, illuminating a complex portrait of fluid Latinx identities.

Casta is being developed with help from Salvage Vanguard Theater (Austin, TX) and a creative team that includes co-directors jkjk (Jenny Larson Quiñones and khattieQ), composer Graham Reynolds, and translator Jesús I. Valles.


 PRODUCTION HISTORY:

  • 2022 - Salvage Vanguard Theater @ Blanton Museum of Art
    (Austin, TX), WORLD PREMIERE

DEVELOPMENT HISTORY:

  • 2019 - Salvage Vanguard Theater (Austin, TX), workshop

  • 2018 - Tulsa Artist Fellowship (Tulsa, OK), salon reading

  • 2018 - Milagro Theatre (Portland, OR), reading

  • 2018 - Salvage Vanguard Theater (Austin, TX), workshop

  • 2017 - Salvage Vanguard Theater & The Drama League (NYC), reading

  • 2017 - Salvage Vanguard Theater (Austin, TX), reading

  • 2016 - Salvage Vanguard Theater (Austin, TX), reading

AWARDS/HONORS:

  • 2023 B. Iden Payne Awards

    • Nominee - Outstanding Lead Performer in a Drama, Noel Gaulin (PAINTER)

    • Nominee - Puppetry Performance

    • Nominee - Properties Design - April Garcia

    • Nominee - Puppet Design - Julia Smith

  • 2021 National Endowment for the Arts, grant

  • 2020 MAP Fund, grant

  • 2019 Ragdale Foundation, residency

  • 2017 NALAC Fund for the Arts, grant

PRESS:

  • Make/Shift: Performing the Art at the Blanton Museum of Art, Austin - Glasstire

The well-researched play explores the limitations the casta system in Spain’s colonies and its connection to the institution of marriage placed on families and individuals, including in terms of gender presentation and the anxieties this version of white suprematism fueled.
— Courtney Thomas, Sightlines
The play covers a vast set of themes, from colorism, domestic violence, child abuse, transphobia, and classism to resilience and self-actualization. It is a dizzying and heartbreaking back-to-back portrayal of ordinary people trying to navigate the complexities of race as it was constructed in the region.
— Christine Gwillim, Glasstire