Running time: TBD

With crackling dialogue and heartfelt humor, Tanya Saracho explores what it takes to repair family relationships–especially when you share the blame for the damage. Erika is crazy desperate for her own apartment; so much so that she’ll take one sight unseen. Anything to escape Cynthia and Brian, her overprotective sister and her controlling brother-in-law. To be fair, Cynthia has reason to worry as Erika just left rehab and her definition of sobriety is “flexible”. As Erika fights for her independence, she realizes that kicking the pills was just her first challenge.

Part of the series: The Construction Zone

eseteatro eSe Teatro empowers local Latino artists to create, produce, and present professional theatre in English, Spanish, bilingual, and Spanglish. We strive for inclusion and self definition of our artists, representing "all the colors in the rainbow of brown" to educate audiences about the many expressions of our Latinidad in the U.S. eSe employs artists and provides them a high visibility professional platform within Seattle mainstream theatre. Our strong social component brings theatre to under-served Latino communities such as monolingual, low-income, homeless, and at-risk youth audiences. For more information on eSe Teatro, visit their website at and Facebook at .

Find out more about eSe Teatro's artistic director, Rose Cano, in this article by The Seattle Times (English) and in an article recently published in both English and Spanish on Read about Latino artists and the Latino theatre scene on HowlRound.

CZ_2017_Leticia_LopezLeticia Lopez is a youth educator, leadership facilitator, theatre artist, and writer. She is an alumna of the Lincoln Center Director’s Lab, as well as the Mark Taper Forum Latino Theater Initiative Writer’s Retreat. As a respected leader in youth and arts education, Leticia has worked for Intiman Theatre, YWCA of King-Snohomish, Planned Parenthood, as well as independently as theatre director and educator. At Intiman Theatre, she worked as Director of Education & Community Programs, where she led The American Cycle, examining the American character through arts animated programs across King County. At the YWCA she was the creator of Leaders in Progress (LIP), now Girls First, an empowerment and mentorship program for teen women from diverse and low-income communities as well as acting as a leadership development program for the adult volunteer mentors. YW-LIP was awarded a Golden Apple by KCTS for “excellence and innovation in education”.  Leticia holds a B.A. in Theatre Arts from Whitman College and is the recipient of fellowships from Cornerstone Theatre (Altvator Fellow) and the National Hispana Leadership Institute. Leticia is currently a volunteer board director at Intiman Theatre and Town Hall Seattle.


Tanya Saracho was born in Sinaloa, México. She is a playwright who writes for television (HBO's Looking, Girls, How To Get Away With Murder, and Devious Maids) and is the creator of Pour Vida on Starz. Named “Best New Playwright” by Chicago Magazine, Saracho is an ensemble member at the Tony Award winning Victory Gardens Theater, the founder of the Ñ Project, founder and co-director of ALTA (Alliance of Latino Theater Artists), and founder and former Artistic Director of Teatro Luna: Chicago’s All-Latina Theater.

PLAYS PRODUCED AT: Denver Theatre Center, Primary Stages, Second Stage, Oregon Shakespeare Festival, The Goodman Theater, Steppenwolf Theater, Teatro Vista, Teatro Luna, Fountain Theater, Clubbed Thumb, NEXT Theater and 16th Street Theater.

PLAYS INCLUDE: Fade, Hushabye, Mala Hierba, The Tenth Muse, Song for the Disappeared, Enfrascada, El Nogalar (inspired by The Cherry Orchard), an adaptation of The House on Mango Street for Steppenwolf, Our Lady of the Underpass, Surface Day, Kita y Fernanda, and Quita Mitos. Saracho is a winner of the Ofner Prize given by the Goodman Theater, a recipient of an NEA Distinguished New Play Development Project Grant and a 3Arts Artists Award.

NEW WORK DEVELOPED AT: South Coast Repertory, Denver Theatre Center, Two River Theatre, Steppenwolf, Goodman, Sundance Theater Lab 2012, Hedgebrook Women's Playwright's Festival 2012, Ucross/Sundance 2011, Martha's Vineyard Arts Project 2011, Superlab with Clubbed Thumb/Playwrights Horizon, Ignition Festival at Victory Gardens, Latino Mixfest at Atlantic Theater, and XYZ Fest at About Face Theater. Saracho was named one of nine national Latino “Luminarios” by Café magazine and given the first “Revolucionario” Award in Theater by the National Museum of Mexican Art.

IN DEVELOPMENT WITH: HBO, Goodman Theater, Steppenwolf Theatre, Two Rivers Theatre, Denver Theater Center, South Coast Rep.

Tanya is a proud member of SAG/AFTRA, and the Writer's Guild.

Rose Cano, Artistic Director of eSe Teatro, reached out to Tanya Saracho, playwright of Hushabye, for a brief Q&A about her work. As the national movement vehemently updates the landscape and narrative of Latino (o/a/x) theatre, from the corner in the PNW eSe Teatro believes in making important contributions to that narrative and to the "American" Theatre.


If you have never had a play produced in Seattle, what are your ideas about the Latino theatre scene in Seattle in terms of opportunities for Latino artists?  And in the Northwest?

I had a partial reading at ACT (?) at the end of Hedgebrook and I remember being worried the casting pool wouldn't support my casting needs: an indigenous Latina, a Mestiza, and a white Latina (a Criolla). I was right, we had only one Latina in the 3-person excerpt. The entire play requires 10 Latina actresses of varied ages, that tiny experience didn't give me tons of hope for my plays in Seattle.

Do you consider the work produced in this area to be part of a national Latin theatre movement or existing on its own?

I know there are centers of Latinx Theatre work, where the pool is deeper and the audiences more used to the nature of Latinx-themed or Latinx-crafted work -- I come from such a center: Chicago is a sort of Mecca for Latinx work (and even then, we have a lot of work to do) that can support a healthy pool of creators (playwrights/producers) and interpretive Latinx Theatre artists (actors/directors/designers).  But I don't like how we marginalize areas of the country where good work is occurring -- Houston, Minneapolis, Seattle, etc. -- on a smaller scale. I've seen us ignore these areas at Theatre gatherings and I don't love that.

Do you feel that Latino theatre artists in Seattle and the NW are respected nationally and considered part of a bigger movement?

I don't, that's what I'm saying above. New York, Chicago and Los Angeles get the respect and get to set tone for the larger movement, but I think the smaller or individual movements get left behind.