My KCACTF Experience

South Hope St. to Washington D.C.???

Day 0:

The Kennedy Center’s American College Theatre Festival (KCACTF) is a national theatre program involving 18,000 students annually from colleges and universities across the country. In January and February eight Regional Festivals showcase the finest regional productions, offer workshops, and celebrate student’s work. In April, the National Festival takes place in Washington D.C.

This year’s Region 8 festival was hosted by Glendale Community College, and my play South Hope St.¹ was selected to be presented as part of the National Playwriting Program.

I found out my play was selected back in December and I wasn’t sure what to expect. I later learned one of my fellow AKA founders Karly Thomas’s play was also selected, and AKA member extraordinaire Aedan Ferrara’s play was too. Also AKA member extraordinaire Lily Hart was also presenting her dramaturgical packet for her role in the New Works Festival featuring AKA’s thesis works. 

(I also submitted my other play titled: Why is the Kennedy Center for the Performing Arts sponsored by Raytheon Technologies and Boeing, and why did they accept a 5-million-dollar gift from the United Arab Emirates? But it wasn’t selected. If you’re curious about this piece, you can see a staged reading performance presented at UCR’s Playworks festival here.)

Day 1: Monday 2/12/24

On the first day of the festival we had an all company National Playwriting Program Meeting in a cute little proscenium theatre where we were to go over the days to come. I saw Karly, Aedan, Lily, and UCR Professor Robin Russin, said hi and took a seat. After an inspiring introduction by the NPP team: Chair, Miguel Torres Cruz; Vice Chair, Rosa Navarrete; and Vice Chair, Cristina Goyeneche, we then were matched up with our dramaturges, and I was happy to be introduced to East Los Angeles College alum Miriam Cervantes. We talked about the inspiration of South Hope St. and I struggled to explain what the play was about, but she didn’t trip and was still excited to work on this piece. 

The dramaturges left the theatre and I quickly ran to the Starbucks on campus for a coffee and a water to prepare for the three hour long audition session that was about to take place. We saw over 100 actors from all over Region 8 which consists of Arizona, Central and Southern California, Hawaii, Southern Nevada, Utah and Guam, audition for the six 10 minute plays and the three 1 Act plays. The NPP team selected sides (excerpts from the plays) and it was a trip to see so many actors each bringing their own style and voice to the characters. For the playwrights in the room, it was cool to get a sample of the plays to come. To see the program and all the artists and students involved check out the beautiful Region 8 NPP website.

Once the auditions were over, we went into another room and in a NFL draft style, each project picked a number out of a hat, and we went down the line choosing our cast. After about an hour each team had a solid cast of amazing actors and we also collectively agreed upon the next two rehearsal times for everyone.  

I grabbed a burger with Karly and Aedan, then around 5pm I headed home. Down the 2, avoiding the 5, around Echo Park, and through downtown L.A, passing the Ahmanson. I made it home, picked up my kids, took them to swim practice, and tried to decompress from my day.  

Day 2: Tuesday 2/13/24

Before I had my 2 hour rehearsal, I met with my director Miguel Torres Cruz. We sat down to talk more about the play, my goals, and my background. I was struck by his assurance. He proudly wore a poncho, fabulously unfurled his hand fan, and asked me who responds to my work. I told him about the Aztec dancer family showing up to my stage reading of Panquetzaliztli at a Riverside library, and he asked me how that felt. I told him it felt dope to know that there is an actual audience out there for my work. After about 20 more minutes of chit chat, we then walked to the rehearsal room together.

One by one we all introduced ourselves, and it was a trip to learn that two cast members were actually from Whittier, California. We dove right in with a read through, then Miguel broke up the play beat by beat. This mother fucker was making me laugh the whole time and it really was a treat to see him work. He understood the script, the characters, and the circumstances. He was telling the lead actor “you're a veterano you can beat this guys ass… but Jesus told you not too.” He recognized the humor and the comedic timing of the script, but also the tension and the depth of the characters. He took time to break down the imagery moments beautifully, telling the actors to take their time and paint these moments in the audiences’ minds.

Specifically the lines: “The way the sun ripples across the bay, and then with that bridge in the background… how can someone deny the existence of god”. He told the actors that “it is in the eyes, that if you see the image, then we, the audience, will see the image”. He also expressed the complexity of the character of Sergio, the Born Again veterano. And mentioned how rare it is to see a male to male intimacy moment that is not sexual. 

I left that rehearsal feeling ecstatic and in good hands, but I noticed that my front right tire needed air badly and drove down the 2, avoiding the 5, made a pit stop to put air at an Arco near Echo Park, continued through downtown L.A, passing the Ahmanson, and made it home, picked up my kids, and took them to swim practice. 

Day 3: Wednesday 2/14/24

This day flew by. First I went to East Los Angeles College to print out my syllabus for an acting fundamentals class I am teaching as part of ELAC’s early college dual enrollment program. (I know, I can’t believe I’m technically an adjunct professor either!)  

I ran into Rodney Lloyd Scott, a faculty member at ELAC, but who was also at the KCACTF Region 8 festival leading the devised theatre program. He recognized me from being in that small room where our casting draft took place, and was kind enough to not only walk me through the labyrinth of hallways to get to the reprographics room, but he also let me use his computer in his office to print out my materials for the class.

After I was done at ELAC, I headed up the 710 wadding through a river of break lights, tripping out how my family and I used to live in East L.A. and how I would walk to ELAC dreaming of the day I would be a professor there. I headed up the 5 through more traffic and thought about the L.A. River and what it was like before Los Angeles was Los Angeles, passing Dodger stadium remembering stories my great grandpa would tell me about living in the Chavez Ravine and coming down to play in the river. Up the 2, the traffic cleared for the most part and I admired the hills and the landscape and wondered about the folks who called this place home 500 years ago. 

We had a quick one hour rehearsal process where my director Miguel focused on sharpening moments to bring out the complexity and humor of the piece, especially the last line of the play where Sergio says “please pray for me” before exiting the bus. It was also beautiful to see that the actors had put in work on their own to develop their characters, and they were even more amazing than the day before.  

Miguel checked in with me and reminded me about picking a transition song to help the performance go smoothly from one play to the next. I was unsure which song to choose, but went with my gut feeling and chose Coolio’s Gangsta’s Paradise.

Then I ran to go teach my acting fundamental class. As I drove through downtown L.A. and made my way to the East Side, I called my partner and confessed that I choose this song and wondered if it was what my kids call “cringe”. She said it was a classic and that she loves this song, and that it shouldn’t be that bad. 

Day 4: Thursday 2/15/24

Thursday morning was the day of the stage reading presentations. I sat in my car writing thank you cards to my fabulous director, talented cast, and amazing dramaturge, popped some gum in my mouth and headed to ELAC faculty member Cristina Faris’ workshop on Chicano theatre. It was great to be in that space and to hear her story and she has been such a big help in preparing me for my adjunct instructor responsibilities for the early college program. Unfortunately, I had to dip out a little early because the stage reading was about to start. I entered the cute little theatre and was in awe by the amount of people packed into the space. Folks were standing in the aisles, the energy and buzz was tangible, and I was excited that all these people were going to experience my play. Luckily, Karly and Aedan graciously saved me a seat, or my ass would’ve been standing too. 

Then the lights dimmed, and I started getting that feeling I always get when I am about to hear my work out loud, that foreboding sense of responsibility. It’s my job to not waste my audience's time. I know if I do a good job or not because I’m sitting in the audience and can her and feel every murmur. They have no idea what’s in store, nor no bias to be “nice” about my work. I am at the mercy of their comments, squirming, and laughter. 

I took some deep breaths and tried to be present. My play went up after Aedan’s. Coolio's Gangsta’s Paradise began to play and I was relieved because it felt like two thirds of the audience were bobbing their heads to the beat and rapping along with the lyrics. It was wild, and not cringe at all, it was actually pretty dope. Then the surrealness of this whole thing began to dawn on me:

I am doing theater in Los Angeles, about characters and situations in Los Angeles, and I am even fortunate enough to be teaching in Los Angeles. My dream is coming true, and I had to take this moment to ground myself and to be appreciative of all the events, people, and support that has gotten me to this point.

The actors were amazing and they had the audience eating out the palm of their hands. The tension was beautiful, the conflict both internal and external was clear, and the comedy hit perfectly. I could feel the audience empathize with all the characters in real time, and it was an experience I will carry with me for the rest of my life.

Cast of South Hope St. with me, and with my Director.

After the performance we had guest respondents share their feedback. 

Playwright Marisela Trevino Orta mentioned how she loved the image of that one line “the way the sun ripples across the bay…” This comment was special for me for three reasons:

1. She was a playwright and a poet and knows her images.

2. She was from the Bay Area, and knows exactly what sunset I’m talking about.

3. Miguel and Justin worked so hard to bring out this moment. 

Playwright and the National NPP Vice Chair Jef Peterson said he knows each and every one of the characters. That they were distinct and the character of Sergio was so richly complex and upended expectations. 

Playwright and Region 1 NPP Chair JR Caldwell said he could feel the danger of the situation and that he can spend more time with Sergio. 

I left that little theatre feeling that I’m doing something right, and I kicked it with Karly and Aedan afterwards before we headed to our next workshop with Playwrights Foundation Literary Manager Heather Helinsky and Playwright and Dramatist Guild representative Emmanuel Wilson.

Then the reality of my situation as a playwright living in Los Angeles deflated my ego. The workshop ended at 5pm and I had to get through L.A. rush hour to take my kids to swim by 6pm. When I entered the parking structure, I noticed my front right tire was low LOW on air, but I didn’t have time to fill it up, and to top it all off, I was riding barely above “E” on my gas tank, hoping that the orange little light didn’t shine.

Down the 2, avoiding the 5, around Echo Park, through downtown L.A, then that ugly little orange light blinked on, but I knew I got a 16 miles left in this mother fucken tank, and pushed it until I made it home, scooped up my kids, and took them to swim practice, filled up the car at Costco, then went to fill up my tire with air.

Day 5: Friday 2/16/24

Before attending the festival I made an early morning East L.A. excursion looking for a new used tire so that I can keep attending the festival. I went to four tire shops before finding the correct tire size I needed for my 2003 Toyota Highlander.

With two new used tires I rolled up the 710, up the 5, and up the 2. I was able to get my class covered for the day so I was able to attend the following three workshops:

Workshop 1 was Dramaturgical Resources lead by Heather Hilensky. It was great to hear her talk not only about all the resources that the Literary Managers and Dramaturgs of the America has to offer, but also how she got started in dramaturgy, her freelance career, and how she reads over like 1,000 plays per season. It was wild.

Workshop 2 was Crafting a Career as a Playwright lead by Marisela Trevino Orta. It was great to hear her story and how she came up, especially seeking out the information to make her play a Rolling World Premiere with the National New Play Network and how she volunteered with the Latinx Theatre Commons, and how that led to a hole bunch of opportunities.

Workshop 3 was Interviewing like a Pro lead by Billy McEntee and with special guest LA times theatre reporter, Ashley Lee. This was a fast paced, off the record workshop where I learned so much so quickly and where I wish I could have attended all three of the Institute of Theatre Journalism and Advocacy workshops, if only for Billy’s amazing outfits.

I was workshoped out by the end of the day, and I also had the pleasure of running into Abel Marquez, Director and KCACTF Member at large, Jesus Reyes, CTG Director of Learning and Community Partnerships, and Professor Dr. Guillermo Aviles-Rodriguez from CSUSB. I decompressed with Karly, Aedan, and Lily, then headed home, you already know the way.

Day 6 Saturday 2/17/24

Saturday was crazy. It was not only the day when two finalist were to be selected to move on to the next stage, but also for me, I had to be up at 5:30am to get my daughter to her swim meet by 6:45 am.

I knew by the time 1pm rolled around I would have to take off to get from Covina to Glendale to be there for the award ceremonies at 2pm. I knew that I would have to miss one of my daughters’ swimming events and two of my sons’ swimming events too. I also knew that I had to leave my partner alone with three kids at a swim meet just so that I can attend this award ceremony.

As I drove down the 210, along the foothills, passing Duarte and Pasadena, I was still trying to process this whole KCACTF experience and tripping out how I use to play football and baseball in these rich areas, and how I got all fucked up one night in Old Town Pasadena, where me and the homies rode around in a Bachelorette’s party limo, and how I, or my car even, made it home that night is still a mystery. I was remembering how I thought the Vroman’s bookstore was the coolest place ever, and how I bought everyone in my family books for Christmas one year. I was remembering burning the fuck out of my tongue on some coffee trying to finish it before me and my partner had to return to our seats for A Noise Within’s production of Twelfth Night.

Before I knew it I was going up the 2 and pulling into the Glendale Community College parking structure for the last time. I put on my nice shoes and a button down shirt, fixed my hair and headed to the auditorium. It was a packed house again and I couldn’t believe all theses people were apart of this festival. I quickly searched and found Karly and Aedan and I again benefited from their kindness for saving me a seat.

I excused my way through the aisle hoping my ass didn’t stink, and found my seat. I was super uncomfortable. I slid my backpack under my chair and argued with myself the whole time whether or not to take off or leave on my jacket. I was chewing gum, but wanted to get rid of it, but I also didn’t know where to dispose of it, but also didn’t want my breath to stink. I was a mess and pretty sure sweating from nervousness, and worrying about a booger or nose hair being exposed.

The award ceremony began with thank yous and acknowledgements. Then category by category, awards and recognitions were given out. People took this shit seriously it was a cross between church and a sporting event. Folks were yelling and screaming for their friends, fist raised to the sky, someone did the worm on stage, another person ran down the aisle jumped on stage, landed on his knees did a spin, nearly hitting the host, than jumped back down.

I was ready to go. I had a swim meet I needed to get back too. But the last category for awards ceremony was the National Playwriting Program. I looked at Aedan and Karly, like here we go, took a deep breath, then channeled my inner Selena at the Grammys scene:

My play South Hope St. was recognized as one of the two 10 minute play finalist!

I quickly went up to the stage, gave my director and chair of the National Playwriting Program a big hug, and stood proudly on that stage. Karly’s play Oh my god did you lose weight was also selected as a finalist, and now both our plays go on to a national pool of 16 plays, two from each of the eight regions, where only two plays will be selected to go on to Washington D.C. for the national festival. (I find out by March 15th if my play was selected!)

Before I exited the stage, Miguel Torres Cruz announced the creation of inaugural Campana award on behalf of Michael-Miguel Productions. The award “honors scripts that bravely make an authentic, bold statement and demonstrate a clear and promising voice”. He shared how him and fellow MMP founder were too brown, too big, and too loud, but how these qualities and their tenacity to trust themselves and their voices allowed them to create their own opportunities and helped them get to where they are today.

I was surprised and extremely thankful to them for believing in me and my voice by awarded me with this honor and the $250 cash prize that came along with it.

Lastly, I just wanted to thank you all again for your support. I truly couldn’t have attended this festival with out my paid subscribers. Because of you I was able to get a haircut, pay for my registration fee to attend the festival, and purchase those new used tires, not to mention all the cups of coffee and tanks of gas I consumed during the week. The “compana” cash prize also afforded me the ability to celebrate my son’s 11th birthday which was on Sunday 2/18/24 stress free. After the second and last day of the swim meet, we went to Shakey’s for pizza and games.

1. You can read the full script here.