David Reynoso Gifts Audiences a Beautiful Homage to a Passage of Mexican Culture

Through the Immersive Experience in La Lucha 

A Blog View by Alejandra Enciso-Dardashti

La Lucha. Photo courtesy of La Jolla Playhouse
There has not been a time when I have experienced David Reynoso's work and it is not mindblowing. Truly, mindblowing whether it is a sealed envelope arriving at my place with instructions on how to access Portaleza, the beautiful permanent exhibit of Teatro Piñata at the New Children's Museum, or just one of his many fantastic costume designs, each Reynoso and/or Optika Moderna experience will be matchless and memorable. This year, the Mexican sport Lucha Libre was showcased as part of La Jolla Playhouse's Without Walls Festival in the lovely and singular La Lucha taking place for one last weekend in San Diego's Museum of Contemporary Art.

The immersive journey includes a set of goggles and headphones. At times the vision is taken away by blocking the goggles and having a cast member guide you through the experience. Before it starts, a couple of house rules are shared, and also make sure audience members feel safe and if at all triggered by the dark or not being able to see, raise their hand so they can be escorted out. I have high, HIGH levels of anxiety so at one point I did feel like raising my hand but I toughed it out! and I was glad I did because it is such a gorgeous, rich experience. There are four main characters in the plot, a wedding with a luchador or wrestler, and a letter where the bride is warned not to marry. Each person will have their own particular experience as cast members take you by the hand and guide you to the different rooms for varied scenarios. The people in the group will coincide in some scenes but not all will get to go to the same rooms or see the same characters. For example, I was taken to a room where I ended up doing a ritual with sand and toy luchadores followed by a beautiful recreation of Xochimilco's trajineras. I was about to cry in emotion and wondered if my husband had experienced it as well, which he had not. 

There is not much dialogue during the performance but the dialogue that it does have, is full-on Spanish and it does not matter if you do not speak it because what is happening can be fully grasped. I do not want to give too much away but as you enter the experience, your vision is blocked by one of the actors and they guide your hands to hold a rope and have it take you to the next room. Once there, we see a lucha match or wrestling match and there, my brain made the connection between holding the rope with no vision to finally arrive at the match. The combination between sensory and reveal is well crafted, taken care of, and truly moving. The drama unfolds with almost every character masked and a bride going to her ceremony but changing her mind in front of the audience. My group had about 10 people in it and we were paired or separated for each room, little door, or peephole. The other amazing part, especially for these current times full of gadgets and social media, is that there is absolutely no opportunity for "distraction". Audiences have to be in it fully, even if you stay too long or longer than you should seeing something, an actor will come escort you to what is next. The headphones provide ravey music and some folk nostalgic, and sad songs. I could hear Chabela Vargas come through (who btw was born in Costa Rica but Mexico adopted her like many artists). Her raspy voice totally gives feeling and momentum to the sad, confused bride roaming through the detailed churrigueresque halls.

La Lucha is a unique experience for anybody. For people who are not familiar with Mexican culture, this is an authentic portal to it created with a substantial amount of love. Speaking for myself as a Mexican woman, this was a lovely balm that truly caressed my soul.

Many might ask "what is this about?" even after the experience. The charm of La Lucha is that it can be anything you want it to be. In Lucha Libre, the Luchadores wear their mask 24/7 fully embodying their character and that persona. When they lose a match, the rival takes the mask off in front of the audience as a public shaming. Showing your face in Lucha Libre is a sign of weakness and shame. Maybe 'Lucha is putting a conversation on the table about the different masks we wear in society and how shame takes different forms and meanings. "Lucha" in Spanish also means fight or struggle so, in the end, whichever experience and room you had, it all makes sense. There might be a struggle to understand, there might be a fight to grasp just like real life.

You can continue the discussion at the cantina at the end of the trail and have some mole verde nachos or chicharrones mmmm. It is all worth it.

There are very few chances left to experience the amazing La Lucha with entries to the portal every 10 minutes. Most of the slots are sold out but there are still a few left. Reserve while you are able by clicking here.

San Diego Musical Theatre Climbs all the way to Mount Olympus and Stages XANADU

The Musical Production Shines in Fluorescence Showcasing New and Seasoned Local Talent 

A Blog View by Alejandra Enciso-Dardashti

The Cast of XANADU. Photo by Ken Jacques
San Diego Musical Theatre brings another classic to the stage, XANADU inspired by the 1980 movie starring Olivia Newton-John. The musical with a book by Douglas Carter Beane and music and lyrics by Jeff Lynne and John Farrar, tells a creative, twisted, god and muse-filled story of artist Sonny Malone (Jordan Markus) who audiences get to see before the show starts, creating a sidewalk mural of Zeus's daughters and Greek muses to a mean 80s music playlist. Sonny cannot find his full inspiration and gets suicidal. As the muses see this, Clio (Krista Feallock) the youngest, convinces her sisters to go down to Venice Beach and inspire Sonny but there are rules. Muses have to be disguised from mortals so Clio decides to change her name to Kira and wear legwarmers, roller skates and talk with an Australian accent. Another important rule, a muse cannot fall in love with a human which is what jealous older sisters Melpomene (Taylor Henderson) and Calliope (Wendy Waddell) plot over so her sister cannot reach Xanadu. Once Sonny meets Kira and they hit it off, he immediately starts seeing the brighter side and comes up with the idea of having a roller disco. He finds an abandoned theater that coincidentally is named Xanadu and is owned by real estate mogul Danny Maguire (Meghan O’Brien Lowery) so Kira convinces Sony to talk to him and ask if Maguire would donate the space. If Sonny can fix the place in one day, the space is 25% his. Clio is not having it and when she goes to negotiate with Danny, he recognizes or thinks he does but it is not Clio it is "Kitty" someone who he met and fell in love with years past. The evil sisters move their plans along and have Cupid arrow the couple so they fall in love and Zeus can vanish Clio...although, it seems that was happening already. Once all the muses help Sonny restore Xanadu, Danny backs out of the deal, Clio discloses her love and that she is a muse from Mount Olympus, and goes to trial with her dad. As Zeus is deliberating, being advised by his wives and their tales, Sonny climbs the Mount and assures he will fight for his love. Zeus pardons the deed and the couple and they live happily ever after in LA after breaking the final song Xanadu.

Jordan Markus as Sonny in XANADU. Photo by Ken Jacques

SDMT's production of this musical is very cute, glittery, and pink with a simple yet very practical set design by Rick Deussen. Michelle Miles's lighting design makes the colors, the key moments, and the skating pop mixing cold and warm tones to highlight the emotions. If having a full-on choreography while singing and acting is defying, adding the roller skate element is more so. And even though the skating in the piece does not involve complex moves, going around a small space and up and down a ramp is enough for me. Allison Bibicof's choreography also shines brightly through each cast member that also prints their own moves and swag to the steps. Chong Mi Land's costume design is sexy and god-worthy having everybody look amazing and accentuating as well their wonderful work directed by Jason Blitman with musical director Richard Dueñez Morrison. SDMT's productions are inspiring because they are usually choreography heavy and they showcase the up-and-coming young talent. All the sisters/muses are wonderful: Sarah Pierce as Erato is charming and playful with a beautiful voice. Cody Blanch as Thalia and Domo D'Dante as Terpsicore bring the flare, the beat, and the cool dance moves to the stage. The mean duo Wendy Waddell and Taylor Henderson make it hilarious and impressive. I had only seen Taylor in straight plays, not musicals. Her voice and range climb Mount Olympus in one reach, no stretch! The soundtrack is pretty good and catchy, my personal favorite was Evil Woman. Wendy Waddell I mean, is there something that this woman cannot do? She mixes in a funny, corky style that has audiences laughing off their seats. Annie Buckley as Euterpe is delicate and sweet with an amazing voice as well. Krista Feallock as Clio is fun and brings everyone together in a melodic way -not an easy task- as she is onstage the whole time. It was cool to see Jordan Markus back after playing Benny in SDMT's production of In the Heights. He too showcases some mean moves on and off skates as well as an amazing voice. I appreciated the gender switch having Meghan O'Brien Lowery playing Danny Maguire and Zeus. O'Brien is fun and humorous and can rock a suit. Brandon Boomizad's sound design did not disappoint, although the volume of the music was a tad low in the performance that I saw, the work pulls through. I especially appreciated the Offstage singers Daisy Martinez and Isabelle Jennings who are also understudies and swings, that was the cherry on top that makes the production even more real and more professional a La Broadway.

Meghan O'Brien Lowery and Krista Feallock. Photo by Ken Jacques

Xanadu is a feel-good, go-by fast, cute musical that will have audiences singing and feeling inspired. It is nice that this company stages the classics for people to enjoy locally. Not only do they produce great work but also, each production has part of its proceeds dedicated to de non-profit Breast Cancer Angels. SDMT through their campaign You Give. We Give thought of this fit because of actress Olivia Newton-John's longtime battle with breast cancer.  

You still have a number of opportunities to see Xanadu, the show closes on June 4. For performance dates and times click here 

Oceanside Theatre Company’s "Good People" will Have Audiences Debating

The Production has its Final Performances this Weekend Closing on May 28th at the Brooks Theatre 
It Should Not Be Missed 

A Blog View by Alejandra Enciso-Dardashti

Susan Clausen, Sherri Allen, Heidi Bridges, Dennis PetersGood People - Photo Ken Jacques

I always start the views with a frame of reference -in my world- so it makes sense for everybody. This is the first time I have seen a production of David Lindsay-Abaire's Good People. The Old Globe staged it in 2012 and since we theatre people measure time in shows, it is curious to see that eleven years later, 'People comes back to the county through Oceanside Theatre Company's take and a directorial debut by Sandy Campbell which I consider to be one of the best productions this year so far. Those who read my pieces know I like to keep it current and ongoing. If I see something that truly affects me, it will go in writing and with that said, this production of Good People lived in my brain, marinating for days after. Playwright Lindsay Abaire's words are crisp and authentic. Set in Boston, ahem, south Boston or "Southie" as the locals call it, the story centers around Margie (Susan Clausen) a middle-life single mom of a handicapped daughter who loses her job as a clerk in the dollar store and in order to keep making the rent, she goes on a desperate search for work. In the beginning, the play seems pretty clear and straight but as it progresses, the web and tangles start to form. Margie's friends and bingo partners Dottie (Heidi Bridges) and Jean (Sherri Allen) brainstorm possible work options for Margie. It comes up in the conversation that Mike (Ted Leib) a former Southie schoolmate and Margie's ex, is back in town and a prominent fertility doctor. Jean suggests Margie go see him and ask for a job. When she does, Margie is impressed with how far Mike has come and how good he is doing. At least financially and professionally because as a person, it seems he is the same as back when they were younger. Margie sees a family picture and notices Mike is married to a significantly younger woman and it slips that he is having a birthday party to which Margie gets herself invited. There's a cancellation but she goes anyway because she wants to see the house where he lives and she is still in great need of work. Jean comes up with the nonsense of Margie pulling a "Maury Povich" on Mike regarding her daughter. (that American TV reference alone had me laughing out of my seat).

If the plot was already weaving, oh...it gets thicker. She meets Mike's wife, Kate (Amira Temple) and aside from her youth, Margie is surprised to see that Kate is Black. As an audience member, it kind of raises a flag, but then you just think Margie is being ignorant, a little racist and that is that. During a cheese and wine exchange, Kate asks Margie for childhood stories about Mike. It starts off semi innocent but when Mike gets guarded and then defensive about a childhood rumble outside of his house, Margie discloses that Mike almost beat a Black kid from the other side of town to death and had it not been for Mike's dad who stopped the fight, it would have ended in tragedy. If the air is not tense enough Margie blurts out Mike's possible paternity to which he lunges at her showing his true colors. Kate reacts, and the scene cuts to a bingo game where Sherri, Heidi, and Margie are talking, ending with an audacious cliffhanger that cannot be disclosed and you will have to go see.

Ted Leib, Amira Temple, Susan ClausenGood People - Photo Ken Jacques

Sandy Campbell embraced a challenging plot for her directorial debut and the delivery was momentous, well-resolved, and thrilling! Julie Lorenz's set design with moving pieces dressed each scene accordingly as well as Mashun Tucker's lighting design. The props are -vital- in this production and Morgan Zwonitzer got the memo from the cheese platter all the way to the push present, and Dottie's crafts. I am telling you, it is a must-see.

Susan Clausen is fantastic as Margie printing tones of innocence, pain, and frustration that make the character whole and real. Sheri Allen as Jean is a crack, even when moving props and pieces during the set/scene changes she is funny. A nice histrionic camaraderie comes through between Clausen, Allen, and Bridges as well as with Dennis Peters who plays Stevie the dollar store manager. It was not just engaging, the two hours breezed through up to the point where the intermission is a surprise, you do not see it coming because the plot has you immersed. Ted Leib as the vicious Mike spoonfeeds the doses to the audience and then bam! synchronizing with Amira Temple's own rapport and pace. I could listen to Amira's voice all day, she should consider doing audiobooks (I will request my commission percentage later). The tension onstage between Susan, Ted, and Amira is deliciously uncomfortable, -the type that justifies the price of a ticket- uncomfortable.

Margie "let" her ex Mike go off to college so he could get out of the hood and make something of himself given the opportunity. She remembered him as Good People. When adults reach a certain age, usually past 35 or 40, the younger memories sometimes get romanticized and even blurry. It is when it all comes back together in the present and now that the real personality and character come through. Margie made her decision then and got to confirm the outcome decades later.

A clean, honest team effort is reflected in this production which was greatly appreciated. 

Definitely, a mentally and emotionally stimulating, noteworthy 2023 production. 

There are still a couple of chances to catch it! Do so by clicking here and getting your tickets. Also, check an interview with the cast and director over here. 

Interviews From Another Zero

Originally from El Paso Texas, Shelby Acosta made her Broadway debut in 1776. Now she is touring the country with the same show in the role of Charles Thomson

1776 is the next touring production up for Broadway San Diego with performances at the San Diego Civic Theatre. Featuring music and lyrics by Sherman Edwards and a book by Peter Stone, based on a concept by Sherman Edwards.   

We definitely called this interview to order with the lovely Shelby Acosta who is a fronteriza like me with a great love for her city and art. In this conversation From Another Zero, Shelby shares her story, theatre, and Broadway debut, as well as a couple of dates that have played an important role in her journey...

You made your debut on Broadway in 1776, before we get to that, I want to go back a little bit and talk about you, you have a description that says "soy una mezcla" (I am a mix). Tell me about that mezcla.

Shelby Acosta
Of course! I grew up in El Paso, Texas, which borders Juárez, Mexico, and my dad and my dad's side of the family they're all from Juárez, and my mom is from Georgia. They met, one thing led to another, and here I am! I grew up in El Paso. There wasn't a lot of theater. So, while it was culturally rich in other areas, just like the theater aspect never was something El Paso was known for or had a lot of interest in, so my best friend's mom decided to make a theater group in El Paso, and I did many plays there, many musicals, and then decided, this is what I wanted to do with the rest of my life, so I went to school for it. In high school at a performing Arts boarding School in Michigan, which was completely different from El Paso, a kind of a culture shock... and I went to Texas State University for Musical Theater, and then I worked on a cruise ship where I went to Buenos Aires, Brazil, Greece, and Croatia and I got to see the world, basically which was incredible, and then I moved to New York, was auditioning, and one thing led to another, and I got 1776!

Wow! And what did you do on that cruise ship?

I was a singer. So I got to sing and get paid and see the world, which was kind of a dream job.

Of course! While performing! It's amazing. So for 1776, when did you debut on Broadway?
I got hired at the end of August, and the first preview was September sixteenth, which was Mexican Independence Day.


The first time I went on was October ninth, which was my dad's birthday, which I think was really fitting and really great. And then I went on for 67 performances out of like a hundred. I went on a lot which was crazy and amazing. I covered 4 different roles on Broadway.

So numbers and dates are important here. I think they've done something in your life.

Those are just the most two important dates that stick out to me because obviously Mexican Independence Day...Yes, and my dad, my dad passed a year or so ago, and so the fact that I got to have my Broadway debut on what would have been his birthday is very special, and I think just meant a lot to me because I wasn't originally supposed to go on that day.


That was just really important. So I loved it. It was really special.

Of course! I bet... Regarding Charles Thompson, for people that don't know, tell me a little bit about your character and how does it look for people also that are not familiar with the show, I know it has been advertised a lot like "Before Hamilton". Right? So what does your role entail? How does that look? The show. What can people expect?

I play Secretary Charles Thompson, who was very crucial to Congress at the time because he took all the notes, he was like the one that had all the information and would transcribe it and write it, and send messages, and in the show, he's the one that you hear because George Washington is a character in the show, but you never see him. You just hear him through the dispatches he sends from being on the battlefield, and I'm the one who delivers all those messages. So I like to think that I'm like George Washington's voice in this.

It's basically the story of the founding fathers, and the tough discussions, how they got to creating the Declaration of Independence, and the sacrifices that they had to make in order to achieve it. But it's being told through the lens of a female trans nonbinary cast, which I think is the most important thing about this show, because there are so many different bodies on the stage, and that includes Black bodies, Mexican bodies, and Indigenous bodies, saying these words that were originally intended for white men too, and I think when it comes down to it, there are certain things in the show like when we are going to pass the Declaration but one of the founding fathers wants to cut out slavery, freeing slaves from the Declaration of Independence, and the audience is sitting there hearing someone say, "we need to keep slaves" like they're our property, and then you hear those words and you see the Black body's on stage and you have to come to terms with the fact that, we were not included in this piece of history: women, Mexican people, gender queer people were not thought about, and to see us on the stage talking about it and saying those words, it's very important for the audience to see because the history was made with not everyone in mind, and I think it's just a really important piece. and I hope it makes people think and second guess, that they made sacrifices to build America, and now those sacrifices are still having to be made by the people who are not majority in this country. Black people, Mexican people, trans people. We're still fighting for these rights today and America is not perfect. We're still fighting.

Totally! Far from it at times right? It's hard. If it entails a white man, it's not good for the rest of us.

Absolutely, absolutely! And we're still fighting for our bodies.

Exactly. It is an amazing experience for you to have been on the Broadway stage and now touring the country with the same show. But there are always differences because theater spaces are different. What are the changes? Because sometimes they add or do a little switcheroo so it can function while on the road right?

I think for me, the biggest change would be the fact that I'm on every night in the show. On Broadway, I was a Standby, but here I actually have a nightly role which is incredible, because I get to play around and every audience we go to in every city is so different. They react so differently to certain things like we previewed in Utica, New York, (semi spoiler alert!) and there's a little joke in the show about how the New York legislation doesn't give any instructions on anything, they just yell, and they talk fast. And that audience loved that they were screaming and cheering and laughing, whereas sometimes in Denver, it kind of went over people's heads because they're like, "Okay, yeah, that's true, New York is New York great..." It's so fun to see what lands in different cities and I think ultimately the shell of the show is the same but it's so great to see what different quirks are brought to the characters because ultimately we're ourselves playing these founding fathers, playing these men. And so depending on how I'm feeling that day,  I can have my nails painted and still be Secretary Charles Thompson, and bring myself in that way, and maybe the way I tell a joke is different from the person on Broadway and it's just great to see these little quirks. It's not all the same show all the time, and I think audiences are really responding to it across the States, and I'm actually kind of excited and a little nervous to see how they react in the South and to see what things they cheer for and how loud they get about the Southern State lines.

That's gonna be interesting. Have you ever been to San Diego? From one border to the next?

I've never been to San Diego. I'm so excited. I'm so ready to eat while I'm there, I'm ready!

The food is pretty good here. Ok, I am going to ask a 180 question or more like a 360...People say "Oh, my God! 360! You're in the same spot!" and I'm like, "No because you did the whole lap. You know you're not the same! You're not the same as when you started.


Have you thought of what would have happened if your mom's friend had not done that theater group?

Wow...I feel like, I would absolutely not be where I am today. I think that theatre shaped me and changed me, made me who I am, made me strong and confident and outspoken, and going to school in Michigan and branching out from my hometown, shaped my mind and introduced me to a lot of different cultures. Just mainly confident in who I am, and I've got to learn a lot about myself at 15 years old, which is crazy because 15 years old, is so young but I was in a boarding school, surrounded by people from all over the world, in the globe, from different countries, and just learning how to interact, and seeing how passionate everyone is about the arts. I am so grateful that that happened for me, and I'm so grateful that theater in El Paso is growing, and they are viewing arts as something so rich and culturally important. I hope that someone who is in El Paso like me can have those same opportunities.

The National Tour Cast of 1776. Credit Joan Marcus.

Yes, hopefully, I think that San Diego is very rich in theater as well and many people don't know that. Then, the border town of Tijuana, where I'm proudly from, is the same thing! It's really rich. There are a lot of companies trying to do their art, get it out there, and people just are like, "No, there's no theater there" People are not aware. It is not necessarily a battle, but sometimes it is frustrating. It's really cool that you come from El Paso and you see it growing. That's what the arts do. Mind, heart soul, everything. You are a totally different person after you see a show that inspires you, and touches you.


So from one fronteriza to another, I am proud and happy that I get to talk to people like you that really make a difference, and you are proof that it can happen.

I feel so lucky. And if there ever comes a time when I can go back to El Paso and have the opportunity to maybe teach theater I would. I love El Paso. I love my home, and I would do it in a second.

It totally makes a difference when they see one of their own come from New York and then learn from them, it's a whole different experience. What is your favorite part of the show?

Okay. So the longest scene I think, in musical theater history, is, in 1776. It's scene 3 and we're in the Congress, and we're all debating, listening to John Adams and John Dickinson go head to head about independence and I think a lot of people feel when they watch it, they're like, "Oh, my gosh! This scene is so long!", but on stage, it's my absolute favorite, because everyone is in their character, and they're talking lines that aren't written, they're just improving and bouncing off each other really reacting to the debate going on in front of you and every night it's different and every night is just so fun because you can tell we're all having fun talking to each other, and -excuse my language-, shooting the shit on in the middle of the scene, and that's the one time we're all really connected, together, and just go and head to head with each other. That's my favorite part. I love the community and the cast.

How many of you are there?

Oh, my gosh! I think there are 26! It's definitely an important piece and needs to be reflected upon. Come see it with an open mind. I would love for audiences to just come in and view it. As these people who weren't included in this important document.

Exactly another history lesson. There.


1776 will have performances at the San Diego Civic Theatre from May 9th to the 14th. For ticket prices and show times please click HERE.

The 2023 Edition of La Jolla Playhouse's WoW Festival

Brought Another Year of Performances and Unique Experiences for All at the Rady Shell at Jacobs Park.

WoW Festival. Photo Alejandra Enciso-Dardashti

The WoW Festival brought another year of performances and unique experiences for all at the Rady Shell at Jacobs Park. Everything next to the water made it more special and the variety this year was free admission. I caught the opening day with a massive yoga class from Fit Athletic and a dance party with King Britt and friends. I had never seen so many people doing yoga at the same time, that definitely was impressive. The dance party with King Britt was fun and the mixes were cool to dance to. 

On Sunday I trekked again and caught the play Drive presented by Diversionary Theatre and based on Broadway veteran, Sharon Wheatley’s (Come From Away) book Drive: Stories from Somewhere in the Middle of Nowhere chronicling Wheatley's new life after the Broadway shutdown during the pandemic in 2020 and her cross-country trip in an RV with her wife Martha (Astrid Van Wieren). The piece in the outdoors had lawn chairs across the RV and the actresses took us through the journey with laughs and reflections to end it off perfectly by having audience members make their own s'mores around the grill and a tour inside the RV with pictures and how it was set up for the trip. The experience felt very homey and neighborly.

TuYo Theatre's Cuatro Milpas. Photo AED

I then walked over to TuYo Theatre's Las Cuatro Milpas maze where through headphones and video projecting on Ipads or with your phone and a QR code, the gods would gift audience members with historic facts about the origin of corn, stolen crops, and the famous and oldest Barrio Logan eatery Las Cuatro Milpas founded by couple Petra and Natividad in 1933. The materials were available in both English and Spanish offering animation, puppetry, breaking news format, and audio podcast style. At the end of the maze, two gods bid farewell and gift a flour tortilla. One of the many things 'Milpas is famous for. 

This was a very creative and engaging piece. However, as a bilingual person living on the border, I have to add my two cent -peeves- meaning that if you are going to speak Spanish, please aim to have a native Spanish speaker proof and or correct the pronunciation. In one of the videos, it said "época pre-colombiana" meaning "pre-Colombian era" instead of pre-COLUMBUS era or "época pre-Colombina". Details make the difference and paying attention to them does too.

Will Blenkin and Samuel Rhyner. Photo AED

Lastly, I went to the basketball court for 360 an outdoor acrobatic and interactive piece directed by Benjamin Kuitenbrouwer and Hanneke Meijers, performed by Will Blenkin and Samuel Rhyner. It starts with people gathering around Blenkin and Rhyner who are sharing an orange jumpsuit. One has the pants and the other the jacket. They then start rolling out stools and seeing the reaction of the audience definitely integrates as part of the show. First people are shy and do not know whether to grab a stool or not, sit on it or just hold it, sit close or far. The artists start doing flips that challenge personal space and it was fascinating to watch. It is silent interaction but very powerful. It was pretty chilly that day I would've loved to see the interaction on a warm sunny day.

I was also going to catch THE END but it was cancelled due to the bus malfunctioning :(.

The WoW Festival came and went for another year and it would seem that it went by faster than the 2022 edition... (maybe it is just me). I feel that the Shell was not as convenient, accessible, or comfortable as Liberty Station was but the experiences made up for it. Cannot wait to see what La Lucha brings.