Vaqueeros: an ethnodrama.

Carlos-Manuel

COMPADRE 3: I do.

COMPADRE 2: Me too. Wait. I'll go with you. I need to take a piss.

COMPABRE 3: Hey, compadre, make sure you help him piss. He's too drunk to do it himself.

COMPADRE 3: They're right, you know. I'm, ah, I'm gonna get married soon. And no, I'm not doing it for the money. I love my fiancee. I like her parents and they like me. My fiancee loves me. She's gonna be my wife; we're gonna have children, man, and we're gonna live comfortably, you know. And, urn, before you ask, I'm gonna keep doing what I'm doing whenever I can. That's why I come to these parties, you know? Ah, I want to keep the contacts. (Long pause.) You might think I'm cheating on her, but I don't see it that way. Don't tell me you never done something like that. Like when you lived in Mexico. Don't tell me you didn't have a girlfriend and messed around with guys at the same time. I know you did. Your eyes don't lie. And you're smiling, which means I'm right.

COMPADRE 2: Hey, I think the chicken's ready. I'm gonna get some.

COMPADRE 3: Me too. I'm hungry.

COMPADRE 2: Nice to meet you, Carlos.

COMPADRE 3: Yeah, same here. (To COMPADRE 1.) Compadre, are you coming?

COMPADRE 1: Yeah, In a minute.

COMPADRES 2 and 3 exit.

COMPADRE 1: Hey, Carlos. I just want to say one more thing. Don't mention my name or my compadres' names to anyone. If you do, you have no idea what could happen to you. I mean, for your sake, I hope you never reveal who we are ... Good. See ya around, then ... Bye.

A pool of light on CARLOS.

CARLOS: My interview with the three compadres left me feeling like I was in a surreal world. Like I was ... in a movie. It left me feeling like I was in a movie. I mean, this was unbelievable. All I wanted to do was to expose how there are men who have sex with men, even if they're married, have children, and claim they're straight. I also wanted to prove that if a man has sex with another man, he has it because he's gay. What other reason would he do it for? And here I was, in an underground sex party organized by single and married Latino "straight" men who like to have sex with other men. An underground sex party. For Latino men. In Phoenix. Wow! People really go out of the way to hide who they really are. I mean, why don't they just simply come out?

Characters appear in different areas.

ENRIQUE: I have too much to lose; my father wouldn't know how to cope with that.

FERNANDO: I just haven't found the right time for this conversation.

COMPADRE 2: There's not a rule that says we need to be out ... Is there?

PEDRO: I'm not gay, man.

JUAN: Honey, the moment I came out of my mother's womb, I came out of the closet.

COMPADRE 3: I never said I was gay.

COMPADRE 1: I don't think I'm gay, or maybe I am, I don't know.

FERNANDO: I have a better one for you, Carlos. Why does anyone have to come out?

COMPADRE 1: I started having sex with other guys since I was a kid, you know, back in Mexico, en el rancho. But I never talk about that with anyone. I guess we all kept it secret.

ENRIQUE: I'm always questioning myself. What others think of me. What others expect of me because of my dad. What they would think if I do something that I shouldn't do.

COMPADRE 1: I don't know about my compadres but, um, I started very young. But ... I got married and I love my wife and my children very much. But, um, I always, ah, remember the guys from el rancho and what we did in the corn fields, at the lake, by the river, or in the corrales.

ENRIQUE: And it's hard, you know. I, I, ah, shit. I, I don't come out because it's not a good thing for me to do, for my dad.

COMPADRE 1: So, when I got married I tried to change all that. I did for a while, but, um, well, here I am. Maybe if I had been born in another time, like today. Maybe things would be different for me. But I say to myself, I'm married. I have a wife. I have four kids. And I come to these parties to have a little bit of fun with some other guys. I think that's enough. ?No crees? Why come out?

ENRIQUE: I wish I could come out, Carlos, but I can't and I won't. It's a difficult situation. You may never understand it but I have a lot to lose. Not many people know this, but I used to be a heavy drinker. And I used to get into a lot of fights with my family. I was drowning my feelings, trying to be normal. Once I even tried to end my life. I just wanted to erase the memories, end the torment. End it all. But I guess I wasn't strong enough 'cause here I am, talking to you. I did stop drinking, though. It's been more than two years since I last drank any alcohol. It's not easy; I get very depressed sometimes. I ... I ... I cry a lot when no one is around. And sometimes I get very angry, and, and my body shakes, and when it does, um, well, it's not.., it's not ... it's not ... ah, um, it's not, um, well ... I ... I ... I ... I don't like it. I mean, my heart starts beating very fast, and, um, my hands sweat, ah, I feel very cold ... and I just ... I just ... I uh ...

CARLOS: Are you OK?

ENRIQUE: Yeah. It's hard to talk about this. God, I haven't talked about it with anyone. It's just, ah, I mean ... I had ...

ENRIQUE breaks down.

CARLOS: We don't have to keep talking, Enrique. We can end the interview right now.

ENRIQUE: I'm OK. Really. I actually feel good telling you all this. It is kind of like ... um, an incredible release, you know? Like an escape, you know. Yeah, an escape. You get me?

CARLOS: Yeah. (Pause.) So, um, Enrique, after telling me all this, do you still plan to continue being in the closet?

ENRIQUE: I have no other choice. I mean, I'm not saying I want my father to die anytime soon but, um, I'm going to carry this with me until he dies or I die. That's the way it is and that's the way it's going to be.

CARLOS: But ...

ENRIQUE: Do you mind if we stop now? Please?

CARLOS: Sure.

NARRATOR 1: How do you deal with such information? How do you deal with such emotions? What do you do when you learn someone is completely and utterly disturbed because of their feelings?

NARRATOR 2: How do you overcome the desire to get involved in their lives? What do you do to ignore their troubled spirits and move on now that they have confessed something so intimate, so painful, and so disturbing?

NARRATOR 1: How do you move on?

NARRATOR 2: How do you do it?

CARLOS: I wrote those entries after my interview with Enrique, who sobbed for almost an hour after we stopped talking. And all I could do was to hold his hand and feel guilty because I put him in such an emotional state.

Transition. A bus stop, From a distance, CARLOS watches.

STRANGER 2: Hi.

PEDRO: What's up?

STRANGER 2: It's hot, isn't it?

PEDRO: Fuckin' burning, man. And after throwing some hoops, I'm all sweaty and shit.

STRANGER 2: Oh.

PEDRO: Hey, the fifty-six hasn't come, has it?

STRANGER 2: I'm waiting for it.

PEDRO looks at STRANGER 1. It's an uncomfortable moment.

STRANGER 2: What?

PEDRO: You're wearing a tie and shit. Don't you have a car?

STRANGER 2: It's in the shop. Bad timing for it to break down, huh?

PEDRO: I know how to fix cars.

STRANGER 2: Yeah?

PEDRO: Yeah.

STRANGER 2: Ah, you live close?

PEDRO: Nah. I have to take two buses. Do you?

STRANGER 2: Yeah. Very.

PEDRO: Man, it's fuckin' hot.

STRANGER 2: Here comes the bus.

PEDRO: It's about fuckin' time.

STRANGER 2: Say, ah ... if you're thirsty ... ah ...

PEDRO: Yeah. Sounds good.

CARLOS: And then what happened?

PEDRO: (To CARLOS.) I went to his place. (To STRANGER 2.) This is a nice place.

STRANGER 2: You think so?

PEDRO: Yeah. You must have a good job.

STRANGER 2: I do. Here is your water.

PEDRO: Thanks.

STRANGER 2 can't stop staring.

PEDRO: (Groping himself.) You want it?

STRANGER 2 nods.

PEDRO: It's all yours.

CARLOS: And that was it?

PEDRO: Simon. He gave me twenty bucks.

CARLOS: Are you hustling?

PEDRO: No, man. He gave me money 'cause I needed to get back on the bus.

CARLOS: How often do you see him?

PEDRO: I don't know. Once, maybe twice a month.

CARLOS: And he gives you money all the time?

PEDRO: Presents too.

CARLOS: And you have others, right?

PEDRO: Simon.

CARLOS: So from what I see, you get a lot of sex.

PEDRO: Yeah. I like it. I enjoy it. And I have a lot to give. I mean, check this out; it's hard right now.

CARLOS: So your girlfriend doesn't know about the other guys.

PEDRO: And she won't find out.

CARLOS: You sound so sure.

PEDRO: None of those fags is gonna open his mouth. I know that.

CARLOS: You know. You call these men fags because they have sex with men. But you're having sex with them too.

PEDRO: I ain't no fuckin' fag, man.

CARLOS: But you still have sex with them.

PEDRO: They get it up the ass, not me. I told ya, I don't like men that way. I like sex, man. And any mouth is good to suck me off. And if they want more, I give them more. But I ain't no fag. Get it?

CARLOS: Yeah. I guess.

PEDRO: What's this for?

CARLOS: School project.

PEDRO: Cool. (Pause.) So, are you sure you don't want it?

CARLOS: No, man. That's all right. I'm good.

PEDRO: Are you sure? It's hard.

CARLOS: (Ignoring.) Do you have any other questions regarding the interview?

PEDRO: I'm cool.

CARLOS: Good. Me too.

A pool of light on JUAN.

JUAN: Oh, my gawd! He's so fine! Why can't I be the one who gets offers like that from men like Pedro, huh? What's wrong with this world? Or at least why can't I be the guy sitting at the bus stop waiting to be picked up, huh? You tell me! (Thinking.) Oh, I know. I do not, and I repeat, do not do public transportation. But I always go to Paco Paco, Karamba, and El Zarape. Why don't I get picked up there? Why? (Before anyone answers.) Do not answer that. The question is rhetorical.

Transition. A phone rings.

GUSTAVO: Hello?

CARLOS: Hey, Gustavo, this is ...

GUSTAVO: Gotcha! I can't answer the phone right now, but leave your digits and I'll call you back. Peace.

CARLOS: I met Gustavo at one of the gay clubs in downtown Phoenix. Paco Paco, to be exact. He was willing to talk under the condition that I wouldn't reveal anything that might identify him. His name, his age, his physical description were off limits. Everything was off limits. Everything except his story.

A pool of light on GUSTAVO.

GUSTAVO: My cousin is the first person I had sex with, and unfortunately, the first person I fell in love with. We started at a very young age. By the time we got to high school, we dated girls, but that didn't work out for me. And, urn, we did it every day for a long time, even though he had a girlfriend. At first I was OK with it, but after a while I didn't like to share him with anyone else, so I took things to the next level.

NARRATOR 1: Gustavo told his cousin that he was in love with him.

NARRATOR 2: His cousin told him he also loved him, in his own special way.

GUSTAVO: He told me he's bisexual.

NARRATOR 1: Gustavo was OK with that.

GUSTAVO: I never stopped loving my cousin.

NARRATOR 1: Until one day Gustavo learned his cousin got engaged.

GUSTAVO: The news hit me like a bucket of ice-cold water. I took the news of his proposal very hard. And when he asked me to be one of his padrinos ... I said yes. But many days before the wedding, I cried a lot. But I never told my cousin or anyone else anything about that. I just cried alone, in my room. Day and night.

NARRATOR 1: Once the wedding took place, Gustavo thought everything between them was over.

NARRATOR 2: So Gustavo made an effort to forget about him. And he almost succeeded until one day ...

Transition.

COUSIN: Gustavo! Gustavo!

GUSTAVO: What are you doing here?

COUSIN: I came to visit, ese. (Pause.) What? Can't I visit my own familia?

GUSTAVO: You're drunk.

COUSIN: So what? Where's my tia? Tia?

GUSTAVO: She's watching her novela. Calm down! What's wrong with you?

COUSIN: That bitch, ese! I got in a fight with that bitch!

GUSTAVO: Calm down! You want my mom to hear you screaming like crazy?

COUSIN: I'm not going back, OK. I'm not going back to that ... bruja, ese!

GUSTAVO: OK, OK. I'm sure you can sleep on the couch. I'll tell Mom to call your wife.

The two actors freeze.

NARRATOR 2: And so, the cousin spent the night and once everyone was asleep, Gustavo felt someone getting into his bed.

The actors unfreeze.

GUSTAVO: What are you doing?

COUSIN: Sssh! It's OK.

GUSTAVO: No. It's not OK. What are you ...

COUSIN: I'm cold.

GUSTAVO: You're naked. Of course you're cold.

COUSIN: Gustavo, please.

GUSTAVO: What?

COUSIN: Don't you miss me?

GUSTAVO: You're drunk.

NARRATOR 1: Their love affair started when they were both very young. It went on and off for several years until it stopped once Gustavo's cousin got married.

NARRATOR 2: But a few months after the wedding, they got together once again. As of today, their affair has been going on for six years. And according to Gustavo, it will continue because ...

GUSTAVO: Because I love him, and he tells me he loves me too. And before you start judging us, just remember this. For me, being gay has always been difficult. I live in hiding because of my family and our religion. And urn, my cousin says he's bisexual and, ah, well, he wants us to be secret about our love affair. So we do. And, ah, there's something else. I'm HIV positive. And, ah, no one knows about it. And, ah, my cousin don't know about it. I figure, if he wants to keep his bisexuality and our affair a secret, it's only fair that I keep my status a secret, you know.

Transition.

JUAN: And I thought I was screwed up.

CARLOS: Juan!

JUAN: I mean, this guy really has it backwards, doesn't he?

CARLOS: Juan!

JUAN: Am I supposed to feel sorry for him just because he's in the closet and he's in love with his cousin?

CARLOS: JUAN, PLEASE!!!

JUAN: WHAT? I'm just saying. He cares more about his own personal fulfillment. What about his nephews and nieces? What if he infects them, eh? What about that, Carlos? Have you ever thought about that?

CARLOS: Yes. I thought about it, Juan. But it isn't my job to judge him or anyone else. My job is simply to present my findings.

JUAN: Is it really that simple? Well, is it?

CARLOS: No, Juan. It isn't that simple. But my job is to report. I'm not supposed to judge, or interfere, or try to solve their problems.

NARRATOR 1: The following comes from Carlos's personal entries about his interview with Gustavo:

NARRATOR 2: "I ask myself if I have some moral responsibility to say anything about what I am finding out. I mean, I can ignore everything, but what about the children? What if they turned out positive because of their father's relation with Gustavo. And doesn't Gustavo know he's putting everyone in danger? What am I supposed to do? Am I supposed to simply listen to this man's story and go on like I know nothing? Jesus! I had no idea it was gonna be this hard."

CARLOS: I need a drink.

Transition. We hear "Happy birthday, MAURICIO" in the background.

MAURICIO: When I found out I was HIV positive, I felt like my world was gonna end. I wasn't sure how to react to the news. I mean, I knew about the infection but I never thought I would get it. I mean, why? I take care of myself. I don't sleep around, at least not like other people I know. So, when I learned I was positive? I ... I didn't accept it. And because I was in the closet, it was even easier to ignore the presence of the diseases in my body. But then I met Tony and well, I wasn't sure what to do. Things got serious between us very fast. And after a month of dating and not really going "all the way," he was ready, but I ... I ... well ...

TONY: Hey, sweetie!

MAURICIO: Hey, Tony! This is a surprise.

TONY: I brought you this.

MAURICIO: What is it?

TONY: Why do you always ask that? It's a present.

MAURICIO: What's in it?

TONY: No, wait. You have to promise that if you don't like it, you'll tell me and I'll go change it for something else.

MAURICIO: I'll like it.

TONY: Promise. Please.

MAURICIO: OK. You didn't have to get me anything.

TONY: Tonight we celebrate a month. Don't tell me you forgot.

MAURICIO: Of course not.

TONY: Good. Where's mine?

MAURICIO: Where's what?

TONY: You got me a present, right?

MAURICIO: Of course.

TONY: Where is it?

MAURICIO: Later.

TONY: (Going for a kiss.) OK. Hey, what's wrong?

MAURICIO: Nothing.

TONY: Don't give me bull crap. What is it? (Silence.) Mauricio, what is it?

MAURICIO: Well ... I know you've been waiting ...

TONY: For this day. Yes, I have. I mean, we talked about it. And ... don't tell me you don't want to.

MAURICIO: I do. It's just ... Silence.

TONY: Look, you know I really would like to make it happen. You're the first guy I ever waited this long for.

MAURICIO: I know.

TONY: And you know why? Because I really care for you. Otherwise I would just move on.

MAURICIO: I know.

TONY: But if you don't want to, I understand. I guess I have to wait another month.

MAURICIO: (To the audience.) You know, I could have left things as they were: unsaid. But I knew that sooner or later I had to come clean about it. It's not that I don't want to have sex with Tony. I'm ready but ... Oh, God! Here it goes. (To TONY.) The reason why I asked you to wait is because I'm HIV positive.

TONY: What?

MAURICIO: I'm HIV positive, Tony.

TONY: I heard that. I mean how?

MAURICIO: What?

TONY: Since when. I mean, since when?

MAURICIO: Before I met you.

TONY: How come you didn't tell me?

MAURICIO: I didn't know how.

TONY: How about, "Hey, Tony. Before we get into anything serious here. I'm HIV positive." How about something like that?

MAURICIO: Easy for you to say. You're not the one with the virus.

TONY: But I could be.

MAURICIO: But you're not.

TONY: Still. You could have said something.

MAURICIO: I tried. Many times. I just couldn't.

TONY: Couldn't tell me? Or didn't want to tell me?

MAURICIO: Fuck you!

TONY: No, fuck you! You could have told me from the very beginning.

MAURICIO: Why? So you could get all "high and mighty" on me, like right now?

TONY: You think I'm mad because you're HIV positive?

MAURICIO: Look at you.

TONY: I'm pissed because you waited this long to tell me.

MAURICIO: Oh, please, like you would have understood.

TONY: How do you know I wouldn't? Every day since I met you we have been sharing very personal things about each other. We have been very honest with each other, at least that's what you made me believe.

MAURICIO: I WAS HONEST! AND I'M BEING HONEST WITH YOU RIGHT NOW!

Silence.

TONY: Goddamn it, Mauricio.

MAURICIO: Go if you want.

TONY: Is that what you think I would do?

MAURICIO: I don't know. Maybe.

TONY: I thought you knew me better.

TONY tries to touch MAURICIO.

MAURICIO: Don't, please.

TONY: Do you want me to go? (No answer.) Well, do you? (Again, no answer.) Fine. I'll call you later.

MAURICIO: (To the audience.) He called, you know. He called about five times but I never picked up the phone. A friend told me that he ran into Tony twice after that night and he asked him how I was doing. Tony asked how I was doing. Today I'm celebrating my birthday. Tony isn't here, but he sent a present.

TONY: Have a wonderful twenty-first birthday, Mauricio. Love, me. Tony.

MAURICIO: I guess he really cared.

A pool of light on GUSTAVO.

GUSTAVO: I have been positive for many years. My family doesn't know about it. They don't even know I'm gay. I don't go out to the gay clubs, but when I'm in LA I go to the bathhouses. You know, los banos. That's where I got it. I mean, yes, I used protection but sometimes you get so caught up in the act that you forget. And I forgot or didn't care, whatever, and now I'm HIV positive. And I don't say this so you can feel sorry for me. No. I mean, I got it and that's that. I have learned to live with it. Oh, about my cousin and his wife and their children. Well, I don't know what to do about that. I guess I could stop doing what I'm doing but ... well, it's not easy. You may think it is but it's not, but I love him. I know some of you judge me. That's OK. You're not in my shoes, so you don't understand how I feel. Trust me, the sea looks much different if you're on the shore than if you're in the middle of it.

Transition lights.

JUAN: Oh, my gawd! From which Mexican novela did he take that cheesy line?

CARLOS: Juan! Stop it!

JUAN: Listen to him. (Mocking GUSTAVO.) "The sea looks much different if you're on the shore than if you're in the middle of it." (He starts laughing.) That's a bunch of crap.

CARLOS: I'm glad you find it amusing.

JUAN: Oh, Carlos. Relax, girl. Llevatela calmada.

CARLOS: ?Que me la lleve calmada? ?Calmada? How do you want me to relax when you keep making fun of people's confessions?

JUAN: Girl. First of all, I'm not making fun of people's confessions. I'm only making a few observations on their drama. And second of all, you're too tense, too stressed out, and making it very hard on yourself to enjoy the ride.

CARLOS: Juan. I have been talking to men who are married and have children, or don't have children or are not married but are in a relationship. All these men are having sex with other men. They considered themselves either gay, or straight, or bisexual, or free-spirited. That's right, you heard right, "free-spirited." They're all in the closet, telling me the reasons why they won't come out. Some of these men have cried in front of me, others have told me they feel like ending their lives, some have confessed they are HIV positive, a couple of them have offered me sex, a few have threatened to beat the shit out of me if I say anything that might identify them, and at least one of the men I interviewed is having sex with someone who is under 18. And you're telling me to relax? ?Que me calme?

JUAN: Ay, Papi. Take it easy, please. No wonder your hair is turning white and your face is full of wrinkles.

CARLOS: And of top of that you make fun of everything.

JUAN: I'm not making fun. I'm your comic relief. That's all.

CARLOS: Whatever.

JUAN: I respect everything you're going through and I take your findings very seriously, especially when it comes to HIV and AIDS.

CARLOS: Yeah, right.

CARLOS exits.

JUAN: I do. Really I do. And I'm gonna prove it.

NARRATOR 1: The following information comes from the Department of Health and Human Services, which oversees the Centers for Disease Control and Prevention Web site.

NARRATOR 2: To be more specific, the following information comes directly from the most recent HIV/AIDS Surveillance Report and Supplemental.

ACTOR 4: It is estimated that more than 1 million people are currently living with HIV in the United States, with approximately 40,000 new infections occurring each year.

JUAN: Seventy percent of these infections are in men and thirty percent in women.

ACTOR 6: Half of the 40,000 new HIV infections occurring each year happen in men 25 years of age or younger.

NARRATOR 1: It is also estimated that about 7 to 10,000 of the 40,000 new infections each year happened among the Latino population.

NARRATOR 2: In each year, from the total new AIDS cases reported, about 9,000 of them are among the Latino population.

ACTOR 6: And the numbers, unfortunately, keep growing.

JUAN: Which only means one thing, honey. The Latino community isn't well informed and if they are, people are not taking care of themselves. Many are having unprotected sex and the majority have forgotten that AIDS is something that continues to kill many of us. So, please, wake up, smell the danger, and stop playing Superman. You ain't made of steel!

JUAN snaps his fingers in a "Z" formation.

DARK.

In it, a phone rings.

DANIEL: Hello?

CARLOS: Hi, Daniel. Habla Carlos.

DANIEL: Oh, hola. ?Como estas?

CARLOS: I'm fine. Thanks. Hey, listen. I'm calling to see if you would like to have coffee with me sometime.

DANIEL: Mira, Carlos. I told you ...

CARLOS: No, wait. I want to apologize. Disculparme. But I wanna do it in person. ?Que dices?

DANIEL: I gotta think about it, Carlos. I'll let you know. OK?

CARLOS: Ah, sure. Look, Daniel. I know that what I said, what's out of line. Y me siento mal pot haberlo dicho. So, please, give me the chance to apologize. Pot favor.

DANIEL: I'm a little busy right now, Carlos. And I'm going to Mexico to visit my family next week. So, how about if I call you when I get back?

CARLOS: Yeah. Sure.

DANIEL: OK. I'll call you.

CARLOS: OK, I'll wait for your ... Hello? Hello?

A pool of light illuminates DR. SANDOVAL.

DR. SANDOVAL: By the United States definition of homosexuality, a man who engages in sexual relations with another man and a woman is labeled as a bisexual man. But by the Mexican and most Latino cultural definitions of homosexuality, he's not bisexual or gay. He's just having sex with another man. He's the top, the aggressive one in the encounter. He doesn't get penetrated by the other man. In the end, and this is very important to understand, especially when it comes to funding. Because when American institutions or government agencies give money to organizations that fight HIV and AIDS, the money that's spent on prevention programs, whatever program they have, it's based on the "American" definition of homosexuality. So they get the word out, but they are not doing it the right way, because they are not adapting the Latin American cultural definition of homosexuality. When these programs are talking about AIDS, they are not talking to the straight Mexican males, even though many of these men are having sex with men. The agencies don't think that they need to reach out to the straight Latino men because they don't understand our Latino views toward homosexual practices.

Transition. A nightclub.

VICTOR: I have a few stories to tell.

NARRATOR 1: May 5, 2006. CARLOS decides to go to one of the Latino gay clubs and meets VICTOR, a thirty-four-year-old man.

CARLOS: I'm sorry?

NARRATOR 2: Married twice. Four children. Two from the first marriage. Two from the second.

VICTOR: I have a few stories I can share with you.

CARLOS: Good. What's your name?

NARRATOR 1: Lives with his wife and one of his children.

VICTOR: Victor Martinez. And you?

NARRATOR 2: Born and raised in Michoacan, Mexico. Immigrated to the United States in the early '90s.

CARLOS: Carlos-Manuel.

NARRATOR 1: Lived in Colorado for about a year but then moved to the Phoenix area in 2001.

VICTOR: I live in South Phoenix. Near Baseline and Central.

CARLOS: Tempe. I go to Arizona State. (Pause.) So, tell me about your stories.

VICTOR: There's a few.

CARLOS: Pick one.

VICTOR: I was in sixth grade. I was, what, twelve? And at school there was this guy who was very ... What's the word? Very ... very ...

CARLOS: Flamboyant?

VICTOR: I was going to say obvious, but that works too. This kid--we used to tease him all the time because of that. And we teased him so much that many times we made him cry.

CARLOS: Sounds cruel.

VICTOR: It was. But that's not the point. One time I got detention and as punishment, I had to pick up all the garbage on the soccer field.

CARLOS: (To the audience.) A soccer field on the school grounds.

Transition. A flashback.

JAVIER: Hey!

VICTOR: Hi.

JAVIER: I see you like picking up garbage.

VICTOR: No, I don't.

JAVIER: It was a joke.

VICTOR: Oh.

JAVIER: I didn't think you got detention. Ever.

VICTOR: Well, I do. What did you do?

JAVIER: Oh, I don't get detention. I volunteer.

VICTOR: Man, you really are different.

JAVIER: It's not the first time I've heard that.

VICTOR: Hey, my bag is full. Where do we take this shit?

JAVIER: To the back dumpsters.

VICTOR: All the way there?

JAVIER: Yep. Come on, I'll go with you. Come on, don't be afraid. I don't bite.

They sit on the ground, leaning against the dumpsters.

VICTOR: Thanks for helping me.

JAVIER: No problem. Contrary to popular belief, I'm actually a nice person.

VICTOR says nothing. He stares at JAVIER.

JAVIER: What?

VICTOR: Nothing.

Silence. JAVIER now stares at VICTOR.

VICTOR: What?

JAVIER: Nothing.

JAVIER and VICTOR stare at each other. Silence. VICTOR nods his head. Slowly, JAVIER starts to reach for VICTOR's crotch.

VICTOR: Not here.

JAVIER: Let's go on the other side of the dumpster. No one can see us there.

Transition. The present.

CARLOS: Was that your first time with him?

VICTOR: It was my first time. Period.

CARLOS: Did you stop teasing him after that?

VICTOR: No. I continued teasing him around my friends, but he never said anything.

CARLOS: Did you get together with Javier again?

VICTOR: Yes.

CARLOS: You wanna tell me about that?

VICTOR: Let's get a drink.

A pool of light on JAVIER.

JAVIER: Back in Mexico, in the pueblo where I lived, there wasn't much to do, you know. The most exciting thing was the soccer games on Sundays. I was on a team along with other friends so I looked forward to that because I really like soccer and, um, I was able to pat my friend on the ass without them thinking anything about it. One Sunday, after one of the games, I don't remember why but I ended up being left behind and had to walk home. It was already dark and the streets were not very illuminated. Back then, the town had a lot of empty lots and it was surrounded by fields of many different types of vegetables. And, um, I was going my way when I saw him. And he said hi and I said hi and he told me he saw me playing and we talked. We were by one of those empty lots with a few houses nearby. And we were talking and he suddenly asked me if, urn, if I wanted to blow him. At first I didn't pay attention, so I started walking away. He had a girlfriend so I thought he was kidding. But he asked me once again. I stopped, turned around to say no and by now he had pulled it out of his pants. I don't know what possessed me but I said to myself, "What the hell!" So I did it. And from that Sunday on he waited for me after every soccer game.

Pool of light out.

CARLOS: If you were to see Victor you wouldn't think he's a married thirty-four-year-old man with four children. He works out, eats very healthy and keeps himself in very good shape. He looks very young. He's very charismatic and has these beautiful light brown eyes that seem to hypnotize you. We only talked once, while having drinks at the club. And not only did he tell me about his first sexual experience in the soccer field. He also told me ...

VICTOR: I only find myself attracted to young guys.

CARLOS: Really? How young? (No answer.) College age? (No answer.) High school? (No answer.) Junior high? (VICTOR smiles.)

CARLOS: Oh.

NARRATOR 1: Carlos never saw Victor again.

CARLOS: I couldn't. His confession about being attracted to young boys was ... well, I couldn't stop thinking about.., he has two boys. And suddenly I wondered if he ... And then I thought about my nephews ... Three of them are in high school. Three more are about to start high school. And the rest are in junior high and elementary grades. They don't live in Arizona but ...

Transition. A phone rings.

OSCAR: Hi, Carlos!

CARLOS: Hey, Oscar! How are you?

OSCAR: Fine. What's going on?

CARLOS: I'm casting a reading of my new play, Vaqueeros, and wanted to know if you're available for it.

OSCAR: I heard about that play. When is it?

CARLOS: April, sometime.

OSCAR: Send me the details by e-mail and I'll let you know.

CARLOS: Cool. We'll talk later then.

OSCAR: You bet.

Transition.

NARRATOR 2: Bisexuality is the sexual orientation which refers to the aesthetic, romantic, or sexual desire for individuals of either gender or of either sex.

ACTOR 4: The term "bisexuality" was only coined in the nineteenth century, and has only been the subject of serious study since the second half of the twentieth century.

NARRATOR 1: Bisexual people are not necessarily attracted equally to both genders, and tend to prefer one or the other.

NARRATOR 2: It is possible for a bisexual person to be attracted to all genders but only one sex, or to all sexes but only one gender.

JUAN: Oh, my God! That's so confusing. What does it mean?

CARLOS: It means that bisexual people could be attracted to men and women because they are males or females. And not necessarily because of their genitalia. Or they are sexually attracted to them but not necessarily because they are men or women, but just because of their genitalia.

JUAN: Oh, my God! That still is confusing. I like my definition better.

CARLOS: Which is?

JUAN: Bisexual men are simply gay men who are afraid to come out of the closet.

CARLOS: What about bisexual women?

JUAN: Helloooo! It's the same thing: afraid to come out of the closet.

CARLOS: You are hopeless, you know that? You need therapy.

JUAN: I'm not confused, Carlos. I'm gay.

NARRATOR 1: Fernando Lopez, on the subject of bisexuality.

NARRATOR 2: Or as he likes to call it, the "free-spirited" thing.

FERNANDO: It's hard. To find someone, whether it's a man or a woman, it's hard. I think it's hard for everyone. And I don't see it any easier for me. That is how things are. I'm looking for someone: man or woman. It's just how it is for me, at least. I mean I wish I had someone. It would make things a little easier. I am not confused about whether I want a man or a woman. I don't care about that. I just want someone. But it's difficult, you know. I know I have emotional problems, and for the most part it's because of this. I mean, going back and forth between men and women it's ... I don't know. I get frustrated. I mean I wish I could tell you that it's easy but it's not. I get depressed a lot and I wish I knew how to stop that but I don't. My friends judge me. They tell me I'm all fucked up because I go back and forth. They think I'm confused or whatever. But I know I'm not. I like what I like and that's that. Sex is sex no matter with whom so I'm not confused. They just don't understand. I want to find someone I can spend my life with. I want someone in my life. And I don't care if it is a woman or a man. I just want someone who I can be happy with, someone who can be happy with me and my kid.

NARRATOR 1: February 26, 2006. Carlos has an interview with Cuauhtemoc Sanchez, better known as Temo.

A pool of light on TEMO.

TEMO: I found out I was bisexual while I was going to ASU. My roommate, who had never met anyone who spoke Spanish, was fascinated with me. He and I became good friends. What I didn't expect was for him to be gay. To make a long story short, we ended up having sex one weekend. I had been having sex with girls way before that. But the first time I did it with him, it was the most passionate sex I had ever had. From then on, I was having sex with other female students and with my roommate. I was twenty-two at the time. Our sexual affair ended when we both graduated. I moved to New York City, where I continued having sex with both men and women. Then I got married to a woman from Centroamerica. But for reasons too complicated to explain, she had to go back to her country so I enlisted in the army. And while I was training, I discovered that there were many soldiers who liked sleeping with other soldiers. And soon I discovered there was a whole network of underground sexual relations among the soldiers. Then, while I was stationed in Hawaii, I realized I was getting emotionally close to one particular soldier. And that scared me so I asked to be stationed in my wife's country. My excuse was that I wanted to be with her, but in reality, I wanted to get away from the soldier. Right before I was relocated I wrote a letter to my college friend and told him everything that had happened in the army. I also wrote a letter to my wife, letting her know I was gonna be relocated to her country. I made the mistake of putting my friend's letter in my wife's envelope. And my wife's letter in my friend's. When she showed me the letter, I had no option but to tell her the truth. I also told her she had the right to leave me, but she chose to stay with me.

Transition.

OLDER BROTHER: Finally, you're here.

TEMO: Sorry I'm late.

FATHER: We were beginning to think you were not coming.

TEMO: I had some business to take care of.

OLDER BROTHER: You want a drink?

TEMO: No, I'm OK. What's going on?

FATHER: Well, you tell us.

TEMO: I'm sorry?

OLDER BROTHER: My sister came crying to me this morning.

TEMO: What? Is she OK?

FATHER: Apparently not.

TEMO: Did something happen to her?

FATHER: My son here tells me you have some interesting ... how should I put it ...

OLDER BROTHER: Interesting experiences in the army.

TEMO: What?

OLDER BROTHER: Come on, Temo. You know what we're talking about. Your soldier friends, your college buddy.

TEMO: Uh ... what ...

FATHER: Frankly, Temo, I don't give a rat's ass if you're sleeping with half the army and the navy. That's your business. But when you get my little girl involved in this mess ...

TEMO: Wait a minute! She isn't involved in ...

OLDER BROTHER: Not involved? She's married to you. Of course she's involved.

TEMO: How do you know about that anyway?

OLDER BROTHER: She told me. She came crying to me this morning, not knowing what to think, what to say. And when she showed me the letter, well, I just ...

FATHER: I want you to divorce her,

TEMO: What?

FATHER: You heard me. I want you to divorce my daughter. It's the best you can do.

TEMO: Did she tell you this? Did she say ...?

OLDER BROTHER: It's the best for her. For her future. For you. For us all.

TEMO: She and I talked about this last week. I don't think ...

OLDER BROTHER: You don't think? How can you think, doing the shit you're doing?

FATHER: As I said, I don't care what you do, but it involves my daughter and I don't want that for her. The best thing is divorce.

TEMO: But ...

OLDER BROTHER: You heard my father. We want the divorce. Let her go. It's the best for her ... And for you if you get what I'm trying to say.

TEMO: Are you threatening me?

OLDER BROTHER: I don't think I am.

TEMO: Because it sounds like you're threatening me.

FATHER: I don't know what kind of life you really live, Temo. But I know the kind of life I want for my daughter, so please ... listen to us.

OLDER BROTHER: Divorce is the best solution.

TEMO: Uh ... I have to talk to her first.

OLDER BROTHER: No, I don't think ...

FATHER: No matter what she says, you need to give her a divorce.

OLDER BROTHER: The sooner you give her the divorce, the better it's going to be for all of us.

FATHER: Come on, son. Let's get out of here.

OLDER BROTHER: One more thing. No word about this little conversation to my sister. Got it?

TEMO: (To the audience.) I told my wife about my conversation with her father and older brother. She didn't want a divorce. She wanted to be with me. We left her country without saying anything. We ended up here in Mesa. Then, after a few years, I couldn't go on without sexual intimacy with another man. I told my wife and we came to an agreement: I am allowed to sleep with other men under three conditions. One, I will never do it in our own house. Two, I will never spend the night over with any of them. Three, I will not get emotionally attached to any of them. And you know what? For the last ten years, it has been working out just fine.

Transition. A phone rings.

ANGEL: Hello?

CARLOS: Hi, Angel. It's Carlos.

ANGEL: Hey, Carlos. ?Como estas, cabron?

CARLOS: I'm doing well, man. I hear you're doing another show right now.

ANGEL: Yeah, man. I am. You should come and see it.

CARLOS: Yeah. I'm going next week. But listen, I don't have much time so ... I'm calling because I am casting a reading of my latest play and I need Latino actors.

ANGEL: Oh, cool. When is it?

CARLOS: April.

ANGEL: Perfecto. The show I'm in ends in two weeks so, yeah. I'll do it.

CARLOS: That's great. But listen, before anything else. I need to tell you what the show is about.

ANGEL: No. That's OK.

CARLOS: No. I need to tell you. It's based on a bunch of interviews I directed with Latino man who have sex with other men but are in the closet.

ANGEL: Oh.

CARLOS: And well, I just want to make sure that you understand the subject matter.

ANGEL: IS there any sex involved?

CARLOS: Ah ... well, no, not really. I mean, characters talk about it and some kiss but it isn't really about that.

ANGEL: Um ... hey, could you send me a copy of the script?

CARLOS: Sure. If you want to look it over.

ANGEL: Yeah. You got my e-mail, right? Just send it to me. I'll read it and let you know.

CARLOS: OK. I'll do that right now.

ANGEL: Cool. Then, we'll see you at my play?

CARLOS: I'll be there.

ANGEL: OK. Bye.

CARLOS: Bye, Angel.

NARRATOR 1: February 12, 2006. Carlos meets Rogelio Mora at a local Starbucks.

NARRATOR 2: Their meeting took place somewhere on east Thomas Road. Between 44th and 46th, streets to be exact.

Transition.

ROGELIO: Hi, my name is Rogelio. I'm out of the closet. But there are places where I have to keep it a secret because, well, there are people who are not very accepting of us, you know. So, ah, to avoid problems, at times, I keep it a secret.

LUIS: Hey!

ROGELIO: Hey!

They look around, see no one, they embrace and kiss.

LUIS: I've been thinking.

ROGELIO: Yeah?

LUIS: I think I found a solution to our problems.

ROGELIO: Yeah?

LUIS: Si.

ROGELIO: OK.

LUIS: You know I love you very much and I would do anything for you, but in this case I can't do much.

ROGELIO: I know, Luis. I know that. And that's OK.

LUIS: No, it's not OK, but I have a solution--marriage.

ROGELIO: We can't get married.

LUIS: Not us, silly. Your sister and I.

ROGELIO: What?

LUIS: It's perfect. I'll marry your sister and you'll marry mine.

ROGELIO: Are you crazy?

LUIS: Don't you see. That way you and her can get papers. And at the same time you and I will be together.

ROGELIO: But you'll be with my sister and I will be with yours.

LUIS: Yeah. But it will be an arrangement.

ROGELIO: A marriage of convenience.

LUIS: Exactly.

ROGELIO: I don't know. Do you think your sister will do it?

LUIS: If we tell her you're gonna pay her a few thousand dollars, she will.

ROGELIO: How much?

LUIS: I don't know. Three thousand dollars?

ROGELIO: And you will want the same for my sister's papers?

LUIS: No. I mean, I'll say that we will be charging you guys $6,000. But you will only pay $3,000 for your sister, and nothing for you.

ROGELIO: Really? You would do this for me?

LUIS: How can you ask such question? For you I'll do anything.

NARRATOR 1: Rogelio and Luis's sister got married about a month later.

NARRATOR 2: Luis and Rogelio's sister also got married the same day.

NARRATOR 1: And although the double wedding, the celebration, and the double honeymoon were very real, they all knew it was all part of a plan to fool the immigration system.

NARRATOR 2: This happened back in 1995. Seven years later both Rogelio and his sister were given permanent residency in the country.

NARRATOR 1: Everything worked out for them, at least when it came to legalization, because in terms of the relationships, things got a little out of hand.

ROGELIO: What do you mean, it's true?

LUIS: What your sister told you is true.

ROGELIO: I don't understand what you mean.

LUIS: What do you mean, you don't understand what I mean? I'm sleeping with her. We're having sex.

ROGELIO: She's my sister!

LUIS: She's my wife!

ROGELIO: I can't believe this. Why would you do something like that?

LUIS: Something like that? I love her and she loves me.

ROGELIO: Shut up.

LUIS: I mean, I know everything ...

ROGELIO: Shut up!

LUIS: Started like an arrangement. But she's very nice and ... and ... well, we fell in love.

ROGELIO: SHUT UP!

Silence.

Lois: Rogelio, try to understand.

ROGELIO: So I guess things between us are over?

LUIS: Sorry.

ROGELIO: Get out!

LUIS: Roger, please ...

ROGELIO: Get out!

LUIS: But we need ...

ROGELIO: GET OUT BEFORE I BEAT THE SHIT OUT OF YOU!!!!

CARLOS: Rogelio and Luis's sister never consummated their marriage. Reason number one: both knew it was all a business arrangement. Reason number two: Luis's sister turned out to be a lesbian.

NARRATOR 1: Rogelio's sister and Luis did sleep together. In fact, they have two children.

NARRATOR 2: But before the children came along, Luis and Rogelio had many encounters.

ROGELIO: Before I found out what Luis and my sister were doing, Luis and I used to get together in hotel rooms or in our own houses. And everything was OK until, ah, well, until, until, until my sister told me she had fallen in love with Luis, not knowing that Luis was my boyfriend.

CARLOS: A week before I met Rogelio for this interview, Luis and Rogelio had a conversation.

LUIS: I'm thinking of divorcing your sister.

ROGELIO: What?

LUIS: You heard me. Things between us are not working out. I want out.

ROGELIO: (To himself.) What a surprise. (To LUIS.) You know my sister is very much in love with you? And I know the news of a divorce will bring her a lot of pain. And what about your two children, man?

LUIS: Look! I'm not happy, OK?

ROGELIO: Goddamn it, Luis.

LUIS: I talked to my sister about this and ...

ROGELIO: You talked to her?

LUIS: And she said that I should do what I think is best for me.

ROGELIO: This is gonna destroy my sister, you know.

LUIS: I'm sorry.

ROGELIO: Goddamn it!

LUIS: I'm really sorry, man.

ROGELIO: (Frustrated.) FUUUUUUCK!!!!

Silence.

LUIS: Are you OK? (Silence.) Roger?

ROGELIO: Well, I guess she has to deal with this. I mean, she knew the whole wedding thing was just a marriage of convenience, but she still fell for your sorry ass. (Pause.) But most of it is your fault because you knew it was all an arrangement and you and I were a couple and you still slept with her. I hope she gives you the divorce, man.

LUIS: What? What do you mean?

ROGELIO: No. I hope she doesn't give you anything. It will serve the two of you right for going beyond our agreement.

LUIS: But ...

ROGELIO: Good luck, man. Good luck with that.

NARRATOR 2: Rogelio, his wife, and Luis talked about Luis's desire to divorce Rogelio's sister. At that meeting it was decided that ...

ROGELIO: I'm going to remind my sister that our marriages were all arranged in order to get us our papers.

LUIS: I'm going to tell her that the only reason why I married her was because, at the time, I was trying to help Rogelio because, um, because ...

ROGELIO: Because you were my boyfriend.

CARLOS: Which means that Rogelio will have to come out of the closet to his sister.

ROGELIO: And I also have to tell her that Luis, her husband, was my boyfriend for four years.

LUIS: One before we got married and three after the wedding.

JUAN: Oh, my gawd! This is just like a Mexican novela, like "Rosalinda," or "Amor sin cadenas," or "Cuna de lobos," or "Vivir un poco," or, or, or, all of them in one. I am in heaven!

CARLOS: I should interview you after you, uh, drop the bomb to your sister.

ROGELIO: We'll see, Carlos. We'll see.

NARRATOR 1: By the time this play was written, the two couples were still married.

JUAN: See what I mean? A soap opera, complete with melodramatic effects and tragic endings.

CARLOS: You are hopeless, Juan. Hopeless!

Transition. A phone rings.

CARLOS: Hello?

DANIEL: Hi, Carlos. It's Daniel.

CARLOS: Oh, hi, man! Did you change your number? Because my phone didn't ...

DANIEL: No. I'm calling you from work.

CARLOS: Oh. Cool. How is work?

DANIEL: Fine.

CARLOS: So, are we getting together?

DANIEL: Yeah. About that. I thought about it and I think it is best if ... ah ... we don't talk to each other anymore.

CARLOS: What? But ...

DANIEL: Look, Carlos. You're cool and everything but, ah, let's just leave it as is, OK? Hey, you still there?

CARLOS: Ah, yeah, yeah.

DANIEL: So, urn, you get what I'm saying?

CARLOS: Yes. I guess.

DANIEL: Cool. I gotta get back to work.

CARLOS: Bye.

Transition.

JUAN: He said what?

CARLOS: You heard me. "Let's just leave it as is."

JUAN: Well, if you ask me, he's a total closet case.

CARLOS: He says he's not gay.

JUAN: Oh, please. How many times we've seen him at the bars, with his "friend." (Pause.) Hey! Hey! Are you OK?

CARLOS: Yeah. I'm fine.

JUAN: Look, forget about him. You have plenty of friends.

CARLOS: It's not what he said that bothers me, OK? It's ... it's just this damn project. It has me all screwed up. Friends don't wanna talk to me anymore. I've gotten into some strange situations during the interviews. I've done more than twenty of them and my mentor still wants me to do more. Some of the volunteers have asked me to not use their stories anymore. Actors don't wanna do the reading of the play because they're afraid about the subject matter. I'm just fed up with everything.

JUAN: Hey! Relax. Take some time off. Let's go to the movies, dancing, don't work on the research any more. Do nothing. But please, relax. Calmate.

CARLOS: I will. I just need to finish the last part of the play and find one more actor who is not afraid about portraying gay men on stage, or bisexual men, or free-spirited men, or straight men who have sex with men, or whatever the hell they believe they are.

JUAN: Wait. I thought you asked Angel to be in your reading.

CARLOS: I did. And he said yes at first, but once I told him what the play was all about, he asked me for a copy of the play so he can "look it over."

JUAN: And?

CARLOS: It's been two weeks and nothing. He doesn't answer my emails or return my calls.

JUAN: Maybe he's busy.

CARLOS: Oh, please.

JUAN: You never know.

CARLOS: Oh, I know. He's afraid of doing the reading.

JUAN: How do you know that?

CARLOS: Because, Juan. When I asked him to be in the reading he was excited about it and said yes. But as soon as I told him the play was about Latino men having sex with other men, he changed his tune.

JUAN: Are you serious?

CARLOS: Yes. When I told him, I heard the hesitation in his voice.

JUAN: Talk about feeling insecure.

CARLOS: You're telling me.

JUAN: Still, do me a favor. Try to relax. OK?

CARLOS: I said I will relax. And I will. Now, please leave me alone.

JUAN: Are you sure you don't want to go to see a movie?

CARLOS: Juan ...

JUAN: Or dancing? We can go dancing.

CARLOS: Juan ...

JUAN: Or to see a play. You know I love ...

CARLOS: JUAN!

JUAN: OK. OK, I'm leaving.

CARLOS: Thank you.

JUAN: Por eso tienes tantas canas, por enojon.

CARLOS: Get out! Get out! Before I beat you.

JUAN: You promise?

CARLOS: OUT!!!!

Transition. A phone rings.

CARLOS: Oscar! What's up, man?

OSCAR: Not much. I read the script. Very interesting.

CARLOS: So, can you do the reading?

OSCAR: You bet.

CARLOS: All right!

OSCAR: I got the dates and everything.

CARLOS: Cool.

OSCAR: Gotta run, Carlitos.

CARLOS: Sure. Hey, say hi to your wife and children for me.

OSCAR: I will.

CARLOS: See ya.

OSCAR: Bye.

A pool of light on CARLOS.

CARLOS: Dr. Sandoval told me that the one thing that bothers him the most is when his friends label Latino men, like the ones I interviewed, as gay, bisexual, confused, or afraid to come out. I didn't tell Dr. Sandoval this, but I also believed that. I believed they were afraid and in denial. As I interviewed these men, I started to see things in a different light. I started to change my narrow-minded view toward them. All the men I interviewed had some incredible things to say. I don't necessarily agree with all of them, or their practices and philosophies, but at least I understand a little more about them and where they come from. Latino men, I mean, many Latino men will have sex with other men not necessarily because we're gay, or bisexual, or straight, or free-spirited. We engage in sexual relationships because it's part of who we are, part of what we do, and part of what we like. Most people almost always want to have sex. Most people are always looking for it, and they will get it, no matter what. Men who have sex with other men hide their practices for many different personal reasons. I came out of the closet as a gay man at age twenty-two. But prior to my coming out, I was already involved in sexual relationships with other guys. If the men I interviewed chose to label or not label themselves, I guess it's OK. If they choose to come out or never reveal who they truly are, that's OK too. Like the many men I interviewed, in certain places and around certain circles, I still hide who I truly am because ... Well, as Father John Powell, S. J., said in one of his many books ... "I am afraid to tell you who I am, because if I tell you who I am, you may not like who I am, and it's all that I have."

DARK

End of play

Carlos-Manuel is currently the director of the Theatre Program and an assistant professor at Bellarmine University. He holds an MFA in playwriting from Arizona State University, an MA in directing from the University of New Mexico, and a BA from Santa Clara University. He is also a member of the Theatre Communications Group and the Dramatists Guild of America.

As a playwright, his work focuses on the US Latino experience and on social justice issues. Carlos-Manuel has penned numerous ten-minute, one-act, and children's plays, as well as one-man shows and full-length plays. These include La Vida Loca, Vaqueeros, Lloronas, Novela, That's Life, Postcards from la Raza, Midnights, Henny Penny, Esno White, Games People Play, Birthday, Carlos-Manuel's F.A.T., Frida Kahlo: A Portrait, and his most recent one-man show, Macho Secrets with Tequila.

Aside from performing, directing, and playwriting, Carlos-Manuel is the creator and producer of "Teatro Latino Conversations," a monthly podcast dedicated to Latino theater artists from across the nation whose goal is to create a digital archive for and about US Latino theater. He has also published several short stories and interviews about playwriting. Other publications include the children's play Esno White, which appeared in an anthology of contemporary works titled Readings in the Lively Dramatic Arts; La Vida Loca: An apolitical in-your-face odyssey of a Mexican immigrant; and the play Creation, published in Ariel, a literary magazine at Bellarmine University. He has three forthcoming publications: the play Lloronas, which will be in an anthology titled Staging Heritage on Stage, and both his one-man show La Vida Loca and a personal essay titled "Immigrant, Maricon, and Mexican. Any Questions?" in the anthology Queer in Aztlan: Male Recollections of Consciousness and Coming Out.

For information about Carlos-Manuel's performances, please visit his website: www.carlosmanuel.com or e-mail him at hola@carlosmanuel.com.