Kansas City’s own Unicorn Theatre will be featured in the February issue of American Theatre magazine, the Nation’s only general-circulation magazine devoted to the theatre with a readership of over fifty thousand.
The issue will include the complete text of THE GHOSTS OF LOTE BRAVO by Hilary Betis, with cover and article photos by Artistic Director Cynthia Levin taken during Unicorn’s 2016 production which ran April 20th to May 8th.
The drama set in Juárez, Mexico, featured Vanessa A. Davis as Juanda Cantu, Rebecca Muñoz as Raquel Cantu, Justin Barron as “El Reloj”, Dawnnie Mercado as Camille, Bradley J. Thomas as Pedro Lopez, Francisco Javier Villegas as Roberto Castillo, José Faus as Man in a Black Hat, and Meredith Wolfe as La Santa Muerte.
Unicorn’s creative team included Ian R. Crawford (director), Tanya Brown (stage manager), Alexander LaFrance (scenic designer), Alex Perry (lighting designer), David Kiehl (sound designer), Emily Swenson (projections designer), Georgianna Londré Buchanan (costume designer), Bret Engle (properties designer), Hannah Miller, Sarah Cooper and Rachel Dyer (production assistants), Gregory Chafin (technical director), Sarah White (scenic painter), Amanda Boyle (dramaturg), Michael Allen (assistant dramaturg), Areli Gil (makeup consultant), Scott Stackhouse (fight choreographer), Francisco Javier Villegas (dialect coach), and Manon Halliburton (sound board operator).
Betis asserts in her play that many of the Mexicans crossing our border are refugees fleeing unimaginable conditions. They come seeking a better life for themselves and their children, often escaping human trafficking, dangerous sweatshops, and young women forced into prostitution that disappear altogether.
Nan Barnett, the National New Play Network’s executive director, praised Bettis’ drama as “A beautiful study of lives lived and lost, and a look at the lengths to which humans will go for the opportunity to make the next day better for themselves and those they love. Bettis’ ability to weave the dark beauty of belief with the desperation and unrelenting want of these women is powerful and highly theatrical.”