Bernardo Mazón Daher talks to me about life as a theatre-maker living on the border, both in his So-So-SoCal Chula Vista upbringing and in the liminal spaces between English-language and Spanish-language art. We get into about our mutual (if limited) Anaheim roots, historical and cultural significance of the piñata and how to turn that knowledge into theatre, and our theories on the dramaturgy of the queue theming of the Indiana Jones attraction at Disneyland. Bernardo suggested we cut that bit, but it's the most on-brand conversation I think I've had on this podcast yet, so...

Bernardo works with TuYo Theatre (among other places), and he came into dramaturgy as a consultant and as a cultural advocate. We talk about whiteness, language, and race, and I don't edit out any of my super-awkward misprononciations and corrections, because part of dramaturgy is working on stuff together. And also because my technical producer is my spouse, and he ain't getting paid, so there shall be no fancy editing.

We speculate about whether or not all dramaturgs are politically progressive. He says the non-liberal 'turgs are out there, but I've yet to come across one. Conservative dramaturgs, I'm interested to hear from you and about how you approach your work. But, you know, if you're all, "Well, poor people deserve to be poor, what else is going on?" it's gonna be a really contentious episode.

Special Guest: Bernardo Mazón Daher.

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