Quiara Alegría Hudes is a playwright from West Philadelphia. Born to a Jewish father and raised by her Puerto Rican mother and stepfather, she identifies strongly with her Puerto Rican heritage. Hudes received her BA in Music Composition from Yale University, and her background in music has provided influence on her playwriting. She received her MFA in Playwriting from Brown University. Hudes is best known for writing the book of the Tony award-winning musical In the Heights and her Pulitzer Prize winning play Water by the Spoonful, part of her play series called the "Elliot Trilogy". She is currently a professor of playwriting at Wesleyan University and playwright in residence at Signature Theatre.
Synopsis
Iraq War veteran, Elliot Ortiz is haunted by a ghost from the war and is left to make funeral arrangements for his adoptive mother Ginny, alongside his cousin Yaz. Elliot’s biological mother, Odessa aka “Haikumom” leads an online chatroom for recovering crack addicts around the world, including a new addition “Fountainhead”, a businessman who struggles to accept his addiction and hide it from his family. After Elliot confronts Odessa about not helping to pay for Ginny’s funeral, and for her past neglectful behavior that killed his little sister, Odessa overdoses and almost dies.
Useful Contexts
Water by the Spoonful would be a good play to read with students of high school age and older. It could be useful to discuss topics about different kinds of families, communities, and support groups with those who may be trying to find their own community to belong. It would also be helpful to lead discussions with those who may have had traumatic experiences in the past or come from difficult circumstances. What does it mean to be successful? What does it mean to recover? The use of online communication is also important, as it is a part of the way people communicate now. This could be taught in a playwriting class, about incorporating other forms of communication into writing.
Thematic Questions
How does the use of other forms of communication, such as chat rooms, change the way people interact with each other? What does the internet’s anonymity, privacy, and instant connections, affect the way interaction occurs?
What are the differences between biological family, and a family that is found?
What does it mean to be on the inside and outside of a community? What does it mean to leave and then come back to a community?
What does it take to become successful? What does it mean to recover?
How does Water By the Spoonful represent John Coltrane style jazz? What does it mean to have stories weave together but not "harmonize"?
"Conversation. Speech. E-mail. Chat room. Each has its own conventions. Its own way that language is played with and used as a springboard, as a weapon, as a method of communication. It would be strange for a composer right now to use only instruments that existed in 1904. I’m just using the palette of language at my disposal today."- Quiara Alegría Hudes
1) Brainstorm a list of different ways that people communicate. Face to face, nonverbal, phone call, email, letters, tweets, texting.
2) Write a letter to somebody else in the class describing how your day has been.
3) Now convey the same message in 140 characters (one tweet). How did the word/character limit change the way you communicated? Were you able to convey the same message?
4) Now pantomime your day in charade style. How did the lack of words affect the communication? What nonverbal cues were helpful?
5) Which ways of communication are most effective? How do different forms of communication change the way we interact?
Synopsis
Young Marine Elliot Ortiz returns from the Iraq War with a Purple Heart after a leg injury and remembers details about his first kill. His father Pop, a Vietnam veteran, remembers stories of falling in love with Elliot’s mother, Ginny, a military nurse, after sustaining an injury, but refuses to reminisce much with Elliot. His Grandpop remembers playing Bach’s Fugues on his flute for his fellow soldiers.
Useful Contexts
Elliot, A Soldier’s Fugue, would be an interesting supplement to learning about the history, politics, or ethics of war. It would be an interesting conversation starter to understand how people talk about (or don’t talk about) war. The studying of this play would also be interesting in a playwriting class. The play is poetic in nature and rarely has characters talking directly to one another. It would be interesting to use this play to study different playwriting styles and breaks in form.
Thematic Questions
What are the elements of war that persists across generation?
Can a soldier fully come home after war?
How can a society discuss issues surrounding war on a macro level, if these conversations are difficult to have at the familial level?
What is the relationship between the play and Bach’s fugues? How does this play represented a repeated theme in different voices?
What does the convention of sending letters home show about the way people communicate?
Can the media accurately portray war?
Synopsis
Iraq War veteran, Elliot Ortiz is now starring in a documentary on the war in Jordan, while the Egyptian Revolution happens two countries away, he has romantic feelings for his co-star Shar, and he attempts to return a passport to the family of the man he first killed. In Philadelphia, Elliot’s cousin, Yaz opens her doors to the needy, and becomes an activist when her romantic interest, an older musician named Agustín goes into cardiac arrest in a hospital waiting room. A year later, Elliot and Shar arrive in Philadelphia, married and pregnant, where Elliot receives the passport back, buries it once and for all in the garden, and then plays Agustín’s cuatro.
Useful Contexts
The Happiest Song Plays Last would be useful to continue learning about communities and the roles that a person can play in them. What does it mean to be a leader? What does it mean to be an activist? The play can be used to discuss issues of social inequality. Additionally, the use of technological communication can be used to continue discussions in a playwriting class about the different ways people communicate.
Thematic Questions
Throughout the play, characters communicate by various modes, such as texting and Skype. How does technology change the way people interact and connect with each other? How does it change the way information is distributed?
What is the relation between the play and Puerto Rican folk music? What can this style of music tell about the play?
What is the difference between charity and activism?
Can traumatic events ever come to a resolution?
What does it mean to be a leader in a community that is in need?
Miss You Like Hell ( 2016)
Daphne’s Dive (2016)
The Good Peaches (2016)
Lulu’s Golden Shoes (2015)
The Happiest Song Plays Last (2013)
Water by the Spoonful (2012) *2012 Pulitzer Prize for Drama
In the Heights (2005) 2008 Tony Award for Best Musical, *Finalist Pulitzer Prize for Drama
Barrio Grrrrl! (2009) TYA Musical
26 Miles (2009)
Elliot, a Soldier’s Fugue (2006), *Pulitzer Prize for Drama Finalist
Yemaya’s Belly (2004)
Quiara Alegría Hudes is working on a project called Emancipated Stories, a collection of writing and art by current and former inmates. Designed to give a voice to those affected by mass incarceration.
instagram.com/emancipated_stories_project/
Friedman, S. (2010). The gendered terrain in contemporary theatre of war by women. Theatre Journal, 62(4), 593-610.
García-Romero, A. (2009). Fugue, hip hop and soap opera: Transcultural connections and theatrical experimentation in twenty-first century US latina playwriting. Latin American Theatre Review, 43(1), 87-102.
Greene, A. (2008, 10). No place like home. American Theatre, 25, 32-34.
Hudes, Q. A. (2017). Quiara Alegría Hudes. Retrieved October 23, 2017, from http:// www.quiara.com/
Hudes, Q. A., & Allen, D. (2016). "World of Cousins". Education and Equality. The University of Chicago Press, p. 89–98.
Hudes, Q. A. & Various Authors (2017, January 06). What can theatre do? A post-! ! election colloquy, Part 2. Retrieved October 23, 2017, from http://www.americantheatre.org/2016/11/30/what-can-theatre-do-a-post-election-colloquy-part-2/
Huerta, Jorge (2008) "From the margins to the mainstream: latino/a theater in the U.S.," Studies in 20th & 21st Century Literature: Vol. 32: Iss. 2, Article 13.
Iervolino, S. (2017, October 13). Lin-Manuel Miranda wants 'In the Heights' rights back from The Weinstein Company. Retrieved October 23, 2017, from http://abcnews.go.com/Entertainment/lin-manuel-miranda-heights-rights-back-weinstein-company/story?id=50460771
Potts , K. (2012, July 04). Water by the Spoonful: An interview with Quiara Alegría Hudes. Retrieved October 23, 2017, from https://www.guernicamag.com/water-by-the-spoonful/
Tran, D. (2017, February 13). ‘Miss You Like Hell’: An american tragedy. Retrieved October 23, 2017, from http://www.americantheatre.org/2017/01/19/miss-you-like-hell-an-american-tragedy/
Wren, C. (2014, Feb 28). Family bonds, music play together in Quiara Alegria Hudes's 'Water by the Spoonful'. The Washington Post.
Ybarra, P. (2017). How to read a latinx play in the twenty-first century: learning from Quiara Hudes. Theatre Topics 27(1), 49-59. The Johns Hopkins University Press.
Young, H. (2015). An interview with Quiara Alegría Hudes. Theatre Survey, 56(2), 187-194.
Web page compiled by Marc Lussier (2017)