El Teatro show explores the humanity of Juan Diego and La Virgen

Lea este artículo en español aquí.

The story of Nahua peasant Cuauhtlatoatzin, later baptized as “Juan Diego,” who was granted four visions of the Virgin of Guadalupe on a hill in Tepeyac, Mexico, in 1531, has been the subject of many retellings, starting in 1648 with the “Imagen de la Virgen María, Madre de Dios de Guadalupe.”

An adaptation of an 18th-century version of the story forms the basis of “La Virgen de Tepeyac,” currently in production at El Teatro Campesino through Dec. 22. Adapted by Luis Valdez and first staged in 1971, it has been a favorite of devoted theatergoers who are drawn to the intense spiritual and emotional connection between the peasant and the mother of Jesus. 

“The relationship is mother-to-son, son-to-mother,” Valdez said. “La Virgen calls him ‘Xocoyotzin,’ which means ‘Little Son’ in Aztec. She represents forgiveness, motherly love and support.” 

He said that the traditional melding of La Virgen with the Indigenous goddess Tonantzin, an archetype of Mother Earth, is a key to understanding the play.

“Since we are talking mysticism and religion,” Valdez said, “the symbolic value of her appearance speaks for itself. The name ‘Guadalupe’ means ‘river of love,’ so it was appropriate to associate that name with Tonantzin.”

The four apparitions are accompanied by an evolving musical dialog between the two characters, which is the play’s heart and soul. Leticia Candelaria, who has served as El Teatro’s vocal coach for 30 years, said the performance of those pieces represents an opening of the hearts of both.

“Vocally,” she said, “what we aim for with the actors is for there to be as much intimacy vocally as possible. Meaning get out of your own way. You’re channeling the servant’s energy from Juan Diego and the ethereal, beautiful mother energy from La Virgen. You have to be very vulnerable.”

Candelaria said it is less about hitting the correct notes than tapping into the heart and being aware of love’s presence; less about spiritual belief than the connection of two souls.

“One character doesn’t know his own words,” she said, “and the other sees only beauty and innocence, showering him with all her strength. Once an actor tears down the walls of whatever false belief they may have about their vocal abilities, there is magic. There is a miracle, and you can feel it.”

Mauricio Samano has played Juan Diego in four previous productions and said that the character represents all of humanity to him. 

“This particular play,” he said, “unlike anything else that I’ve done in theater, is very personal.  It’s that journey that we have to take. You fall, you get up. You fall, you get up. And you find your way to get where you need to get.”

Samano inherited the role from Teatro veteran Noé Montoya, who performed it off and on for 40 years before retiring in 2014. Not considering himself a singer, Samano found himself intimidated both by the inevitable comparison to Montoya and by having to communicate the complex emotions of the role.

“I asked Noe, ‘Will you coach me?,” Samano said.  And Noé being Noé, he looked me in the eye and said, ‘Nope, I’m not going to do that.’ But he told me how to approach the role. He said, Juan Diego is in your heart and your spirit. Look for him, and you will find him. Sing from the heart and you’ll be fine.’” 

Candelaria said that she loves Samano’s performance, particularly in light of the divisions in today’s world.

“He embodies the struggle we all feel,” she said. “With all that humanity is going through, we need some reassurance. You can feel his vulnerability, but you can also feel when he starts to rise in his own power because this amazingly beautiful lady is supporting him.”

Previously appearing in last year’s “La Pastorela,” Sammy Cardoza has been cast as La Virgen for the first time in this production. She had taken classes on Valdez and El Teatro Campesino in college and began auditioning for roles in the annual Christmas shows.

“I had never seen the show at the mission,” she said. “I had never read the script. I went in with a blank slate and the encouragement from Teatro members.”

Cardoza said that, though she grew up Catholic, she approaches the role on more of a cultural level than a religious one.

“This play helps me to connect to my ancestors,” she said. “It connects back to more than the Virgin of Guadalupe: she also represents Tonantzin, connecting to our roots as Chicanos and our Aztec and Indigenous ancestors.”

Cardoza said she sees the interaction between her character and Juan Diego as a journey of self-discovery.

“Tonantzin gets him to see this is something bigger than himself,” she said. “It is about the survival of his people. She is trying to get him to open up his eyes a little bit and have faith and trust in the greater good, even if it is hard.”

Cardoza said the third apparition is the emotional high point of the play for her, when La Virgen reveals that she is the mother of Jesus and had to watch his death.

“It is a moment where you kind of see her human side,” she said. “She reveals a truth, which is that the Indians are dying, and she’s come here in the name of her son to stop that from happening and have peace as her son wanted.”

Cardoza said she had previously worked with Samano in one of the Teatro’s “Palabra” showcases and has been leaning heavily on his experience with the play to hone her performance.

“As my scene partner,” she said. “He’s basically the only person I’m talking to in the play. He’s been my mentor and a big comfort during the play on and offstage. I feel comfortable discussing things with him, and we rely on each other on stage.”

Compressing the play from the expansive production staged at Mission San Juan Bautista to the smaller Teatro playhouse has been a challenge, Samano said, but he believes the trade-off for the audience will be very positive

“I like the intimacy,”  he said. “It is in the round, so there is no hiding. We are speaking directly to people on a more personal level, bringing our same message of love, compassion and acceptance. And, with everything happening in the world, we need it.”

Tickets for “La Virgen de Tepeyac” are available through El Teatro Campesino.

Related stories:

https://benitolink.com/the-evolution-of-el-teatro-campesinos-la-virgen-de-tepeyac/

https://benitolink.com/how-noe-montoya-came-to-embody-the-spirit-of-juan-diego/

https://benitolink.com/mauricio-Samanos-journey-from-mexico-to-la-pastorela/

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