Laredo Theater Guild International is in rehearsals for Luis Valdez’s Zoot Suit, a story rooted in the historic events of the Sleepy Lagoon Murder of 1942 and the Zoot Suit Riots of 1943 in Los Angeles.
The play, which opens Oct. 3 and runs through Oct. 13 at Laredo College’s Guadalupe and Lilia Martinez Fine Arts Theater, chronicles the racial-profiling story of Henry Reyna and the 38th Street Gang, who — despite a lack of concrete evidence — were at the receiving end of an epic, unjust verdict for the alleged murder of José Gallardo Díaz.
Twenty-one members of the gang, victims of racial profiling and police violence, were convicted to life sentences.
Reserved seating tickets for Zoot Suit are available at $20 and $30. Students are admitted at no cost with an ID.
(Scan QR code or click here for tickets.)
JOE FLORES, DIRECTOR
Flores considers Zoot Suit “a huge undertaking, one of the most important and relevant works LTGI will bring to the stage.”
He said he feels the pressure “to do this right” – to call out the systemic racism, racial profiling, civil rights violations, and media interference that influenced public opinion and the judiciary. “This is a many-themed story that will spark conversations and raise questions because in some parts of the country and many parts of the world racism continues not only in rhetoric, but also in hateful and deadly acts of violence,” he said.
He said that directing the LTGI production of The Diary of Anne Frank in 2015 came with the unspoken mandate to be truthful and honest to the telling of so important a story, he recalled. “That same sentiment guides this production,” he said.
“In Laredo we are isolated. Many here are unaware how much racism exists away from the border. Growing up in Laredo, we were pretty insulated from racism. Some of us learned about stereotyping and prejudices against Latinos when we left here for college,” Flores continued.
Regarding Zoot Suit, he said rehearsals have gone to refining sequences and that the work thereafter “will go fast and furious” to opening night on Oct. 3.
Flores said there are some who see San Antonio as a live theater mecca. “I see Laredo as a unique place that welcomes creativity and now offers more opportunities to individuals of all ages to be in theater. It is evident that theater is taken seriously here and has a home here.”
RAY CANTU, ASSISTANT DIRECTOR
“I’m charged with assisting Joe in executing his artistic vision for the show. I coordinate with the other production team members to procure set pieces, props, costumes, and anything else we need for the show. I assist, too, with blocking the scenes,” Cantu said of his responsibilities.
He began volunteering with LTGI in 2011 before entering military service. He is a recent addition to the LTGI board. Cantu has been part of the cast of The Importance of Being Ernest, Frankenstein, and Matilda the Musical.
He said that in the process of researching the racist events that lead to the Zoot Suit Riots of 1943, he was “deeply saddened.”
CO-PRODUCER LINDA HOWLAND
“Zoot Suit is a very relevant story for these times in our country – a story about a tragic aberration of justice fueled by racism,” said Howland.
“We are in rehearsals now, working sometimes with only two actors at a time, but very quickly moving to the point that we are working one scene at a time. In another week or so we will reach the point of start and stop to make adjustments. What may seem to some like a great amount of detailed work is actually not when you have the passion to want to bring an important story like this to life,” she said.
Howland, who has been an integral part of LTGI since its inception in 2005, said the role of the producer is to plan and ensure that every aspect of the production is moving forward, among those details that sets arrive on time, that the costuming is ordered and gets here, that media is kept informed of the production.
CO-PRODUCER SUZY ALFORD
Alford works alongside Howland as co-producer, new to the role, but not to LTGI. She serves on its board and has worked backstage and has been a mainstay of the LTGI box office.
“I have learned that producers are involved in every part of the play, including preparing the program and reaching out to the community. We are there every evening at rehearsals, working closely with the actors themselves and with costumer Isela Arechiga,” she said.
“This has been an enlightening experience, both in production and in understanding the real life events that are the basis of this play — that during World War II racism and stereotyping of Hispanics led to violent riots and a travesty of justice,” Alford said, adding, “The issue of racism very much resonates today.”
She said that LTGI’s growth and successes are attributable to members who work as a team to a high standard.
Other members of the LTGI team are Alyssa Cabriales, stage manager; Alicia McGinnis, choreographer; Ysela M. Arechiga and Marissa Perez- García, costumers; and the cast.
THE CAST
Zoot Suit cast members include Benjamin Lule as Henry, Jason Angco-Barrera as El Pachuco, Luis Pedro García as Enrique, Stephanie Solis Schynder as Dolores, Savannah Vela as Lupe, Jorge Monreal as Rudy, Ben Hinojosa as George Shearer, Allyson Telles as Alice Broomfield, Lorraine Zapata as Della Barrios, Reynaldo Tijerina as Smiley, Adan Villareal as Joey, Orlando Joel Valdéz Romero as Tommy, Gaby Mangual as Elena, Jesus Mendoza as Rafas/Marine, Genaro Reyna as Ragman/Sailor, Silvia Reyes as Güera/Ensemble, Anais Perez as HOBA/Ensemble, John Kilburn as Lt. Edwards/Judge/Guard, John Maxstadt as the Press, Brianna García as cub reporter, and Gaby Manual, Lisa Martinez, and Bianca Cubriel as Pachuca Trio.
LTGI’S CLASS ON STAGE ® SERIES
Zoot Suit is part of LTGI’s Class on Stage® Series, which offers Laredo high school students participation in a curriculum meant to enhance their Language Arts studies with reading, writing, comprehension, and testing.
The series offers professional-quality theatrical productions based on literary works, classic or contemporary, specifically selected for their direct relevance each year for high school grades 9 to12.
Special morning performances are free of charge for participating schools. A post-performance “Content Q&A”
gives students an opportunity to directly question the actors and production team. The expectation is that a student will complete their high school years having participated with LTGI in a manner relevant to their curriculum.
ZOOT SUIT OVERVIEW FROM THE LTGI WEBSITE
Luis Valdez’s revolutionary play, Zoot Suit, is rooted in the historic events of the Sleepy Lagoon Murder of 1942 and the Zoot Suit Riots of 1943 in Los Angeles, California. The play tells the gripping story of Henry Reyna and the 38th Street Gang, who – despite a lack of concrete evidence – were unjustly tried and convicted for the alleged murder of José Gallardo Díaz. The 21 members of the gang – victims of racial profiling and police violence – were sentenced to life in prison.
The sensational media coverage of the Sleepy Lagoon trial fueled racial tensions in Los Angeles, culminating in the infamous Zoot Suit Riots. Over 600 Latino youths were arrested during these riots, sparked by attacks from U.S. servicemen and Anglo Angelenos on individuals wearing Zoot suits. These suits were symbolically associated with anti-Americanism due to the generous amount of fabric used to make them during the wartime rationing period in American History.
The Zoot suit became a powerful symbol of cultural pride and resistance for Los Angeles’ Chicano community. The defiance exhibited by those who wore Zoot suits marked the beginnings of the Chicano Movement, or El Movimiento, a pivotal moment in the fight for civil rights and social justice.
This play continues to resonate and inspire new generations in the fight for equality and cultural recognition.
THE SIGNIFICANCE OF THE ZOOT SUIT OF THE 1940s:
Following Japan’s bombing of Pearl Harbor, the United States officially entered World War II on December 8, 1941.
Brave men dutifully joined the U.S. Armed Forces and swapped their civilian clothes for a military uniform. As so much wool was needed to manufacture these uniforms (as well as silk for making parachutes and maps), civilian resources were put under immense strain.
To cope with this, in March 1942, the U.S. War Production Board issued Regulation L-85, which put strict limitations on clothing and the use of natural fibers. As part of these regulations, a new style of 1940s men’s suit emerged – the Victory suit.
The wool of the 1940s men’s Victory suit was mixed with synthetic fibers such as rayon (derived from wood pulp) to reduce the amount of natural material used. The jacket was shorter, and pants often were narrower with no pleats or cuffs. The suit had no excess fabric or embellishments of any kind. There was even a strict limit on zippers or buttons, which weren’t used unless absolutely necessary.
Wearing the Victory suit allowed men to feel that they were being patriotic and helping the troops by giving up limited and much-needed resources.
In stark contrast to the Victory Suit, there was the infamous Zoot suit, an outlandish 1940s men’s suit that was the complete antithesis of the Victory suit.
The Zoot suit came in loud colors. its oversized jacket had wide lapels and shoulder pads, while the pants were extra high-waisted and wide-legged, dramatically narrowing at the ankle. Symbolizing cultural pride, the Zoot suit was soon adopted by young Mexican and Italian-American men.
During World War II, the Zoot suit was widely viewed as a deeply illicit item of clothing due to the over-abundance of materials used to make it. It was often linked to delinquency and criminal behavior by the media and law enforcement, reflecting the era’s racial prejudices and xenophobia.
The restrictions as set out by the War Board banned the making of the wide-cut and over-the-top Zoot suit. Those who wore them were labeled as unpatriotic. Most honest and rule-abiding tailors followed the restrictions, but a handful of bootleg tailors in New York and Los Angeles continued to make them.
Luis Valdez’s production of Zoot Suit is a landmark Chicano play that explores cultural identity and systemic racism through the lens of the Zoot Suit Riots and the Sleepy Lagoon Trial. It portrays the struggles of the Chicano community in 1940s Los Angeles, highlighting themes of racial profiling, media influence, and the fight for civil rights. The play’s enduring influence reflects ongoing discussions about race and justice.
