Digging Up the Dirt by Cherríe Moraga
Directed by Cherríe Moraga & Adelina Anthony
A play about: poetry and perversion; about making love and making art; about that old story of loving to death. Who murdered “Sirena Cantante” is not the question. The question is: why?”
Starring: Adelina Anthony*, Virginia Grise, Cheryl Umaña*, Anthony Rodrigo Castillo, Brenda Banda, D’Lo, & Melissa Hidalgo
Location
Breath of Fire Latina Theater
310 W. 5th St. (2nd Floor in El Centro Cultural de Mexico)
Santa Ana, CA
Performances
Fri, July 30, 2010 – Sun, Aug 29, 2010
(Play is intended for mature audiences and may not be suitable for children.)
Prices
Opening Night – $25 advance/door
Fridays and Saturdays @ 8PM – $15 advance/$20 door
Sundays @ 6PM – $10 advance/door
Purchasing tickets at the door – we ONLY accept cash and check.
Opening Night
Join us on July 30 for our Opening Night hors d’oeuvres and champagne reception and talk-back to follow the performance with the playwright/directors. Reception sponsored by Bistro400.com.
Group Rates Available
For further details or questions about group rates: info@breathoffire.org / Tel. 714-600-0129
About
“Digging Up the Dirt*” takes place, as Moraga writes, “Inside The Poet’s head, somewhere in the fragmented Chicano nation of Aztlán.” Here, as in most Moraga plays, the playwright uses the imagined landscape of the Southwest to poignantly explore those censored questions that continue to impact Chicana lives. And, as in most Moraga plays, such depictions give all of us pause –regardless of race or gender or sexuality. This is especially the case in “Digging Up the Dirt” where the plot thematically interweaves two murder stories. One is the tale of “Sirena Cantante’s” murderer, “Zanzibar,” serving a life sentence, while engaging in lesbian romances and being mercilessly visited by the probing “Poet.” The second is an intimate account of the murder of “Amada,” a Chicana lesbian killed by the hand of her own son. Through the telling of both stories, alternately satirical and tragic, audience members are held accountable for their own “crimes of passion” and the play becomes a kind of moving mirror to all our unacknowledged “murderous” deeds of the heart.
