La Pastorela History 1997-2010

Different versions of La Pastorela have been produced in Austin for decades by several organizations and individuals. This particular version of La Pastorela dates back to 1997 when Tomas Salas, Austin Artist, re-wrote a Pastorela script combining elements from ten different scripts he had at the time including the Luis Valdez version from the Teatro Campesino production in California. Tomas used this script the most and added two very significant elements to the script. He wrote in an Angel character that disguises himself as one of the shepherds and he also wrote the song, “There’s a Devil and An Angel” to be sung by this character. The 1997 production was produced under the Latino Arts Consortium of Austin and it was performed at the Warehouse turned Theater that used to stand at the grounds of the Mexican American Culture Center on River Street. This year also marked the very first time the character of the Archangel, St. Michael was played by a woman as Tomas Salas who also directed that year, cast a gospel singer to portray the Angel.

In 1998, the play was produced by the then Center for Mexican American Cultural Arts (CMACA). Tomas Salas directed again using the same version of the script and the show was once again performed at the Warehouse beginning the tradition of La Pastorela as an annual event at the Mexican American Cultural Center.

In 1999, the show saw its biggest budget to date. The organization producing it had morphed and formalized into the Mexican American Cultural Center (M.A.C.C.). Cultural Contract funds were received to produce La Pastorela and the production team hired San Antonio Director, Max Padilla who brought a very different approach to the script. At the time, the East side of Austin, especially the area right around the old warehouse was being targeted by real estate developers and some of the people who had lived in those houses for decades were being pressured to sell their property. Padilla implemented this into the show and the Devils were portrayed as Real Estate Developers complete with business attire and land-hungry behavior.

Tomas Salas produced the 2000 show with very little help from the MACC. The current Board of the Mexican American Cultural Center was undergoing difficulties. Salas produced the show in its traditional form at the old Warehouse and the tradition was kept alive.

In 2001, a collective of groups and individuals decided that La Pastorela was too important for our community and if the MACC could not produce it on its own then a group of organizations could do it each donating resources towards the production. The MACC had received very little funding for the show so they agreed to have the collective produce the show. And in this manner, Teatro Humanidad, Teatro Vivo, Latinas Unidas Por El Arte, Teatro Liberacion and Nushank Theater Collective came together and produced the show with their own resources. Nushank Theater Collective was elected for the artistic direction and Mike D. Garcia made some re-writes to the script that included a little flushing out of the romantic story in the show and made the women characters in the shepherd bunch more vocal and active. Garcia also directed the show and La Pastorela was produced with great success.

In the coming months, the building of the new MACC would have the old warehouse torn down. In 2002 and 2003, La Pastorela was not produced.

In 2004, the same group of organizations from the 2001 production along with many individual artists decided to organize and the Austin Latino Theater Alliance was formed. The sole purpose of this organization is to keep the tradition of La Pastorela alive. The old MACC board dismantled and the Warehouse demolished, an Advisory Board appointed by the City now oversaw the MACC. So in 2004, the group ALTA under the sponsorship of Latinas Unidas Por El Arte received funds from the City of Austin to produce La Pastorela. The location chosen by the group was the old Tillery Street Theater and Teatro Vivo headed the artistic direction with Rupert Reyes making re-writes to the script and directing and acting in the show.

In July of 2005, the group Austin Latino Theater Alliance held its very first fundraiser for La Pastorela, the ALTA Pachanga. Mayor Will Wynn declares that day, La Pastorela Day in Austin. The 2005 show is again directed by Rupert Reyes of Teatro Vivo and a beautiful set designed by Alejandro Diaz transforms the Tillery Street Theater for everyone’s enjoyment but most importantly, the tradition is kept alive!

In September of 2006, ALTA holds its second Pachanga making it a weekend event and numerous organizations which include: Aztlan Dance Company, Ballet East, Latino Comedy Project, Proyecto Teatro, Roy Lozano’s Ballet Folklorico de Texas, Sonav Productions, Nushank Theater Collective, Teatro Vivo, El Tule Band, Myrna Cabello and the Gris Gris Band, Cerronato and The Umbrella Man from Houston, Texas all donated their talent to put on a showcase. The energy in the room was amazing. All of these artists and musicians come together in the spirit of La Pastorela. La Pastorela 2006 was produced once again by the Austin Latino Theater Alliance and under the artistic direction of J.P. Jimenez-Smith of Sonav Productions at the Off Center.

In 2007, the new MACC had been inaugurated and La Pastorela returns to the MACC on its tenth anniversary. Many of the participants througout the ten years return and an exhibit complete with photographs and memoribilia is available for the audiences to enjoy. A commemorative program is done including photos and commentary from past actors, directors and technicians. But the story of the year was seeing La Pastorela return to its home. Shepherds, Devils and San Miguel and the Angels were back at th MACC as it should be!

In 2008, the Director chosen to lead this annual tradition was Luis Ordaz from Proyecto Teatro, Austin's premiere all-Spanish theater group. A brand new, all-Spanish script written by Luis Ordaz and Maria Luisa Gutierrez was introduced to Austin audiences and for the first time in its history, "La Pastorela" was performed completely in Spanish.

Pastorela veteran Deanna Deolloz was chosen to lead the way in 2009. A bi-level, proscenium set designed by Deolloz was soon filled with actors of previous years as well as newcomers to the show. Deolloz returned to the original script, added a spoken word piece and cast a woman to play the part of Hermitaña for the first time. Musical Director Brian Ramos composed and arranged original tracks for the show which proved to be one of the most most musical Pastorelas to date.

The Call is now made for the team of 2010! See you there?