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Shakespeare's history plays are rarely adapted for Latinx cultures; they are less familiar to audiences and the specificity of their settings is integral to the action. Only one history play has been adapted for Latinidad, Herbert Siguenza's 2014 El Henry (Henry IV, Part I). Caridad Svich wrote Holler River (inspired by Henry IV, Part I) in 2018, and it will have its first full staging in April 2023. In 2020, Merced Shakespearefest staged a bilingual Ricardo II (Richard II).

Antony and Cleopatra

1979 Interart Theatre

New York, NY

Antony and Cleopatra

(dir. Estelle Parsons)
Link to full article

Estelle Parsons directed this production in which Latinx actors played the Romans in opposition to white actors who played the Egyptians.


1988 The Old Globe

San Diego, CA


(dir. John Hirsch)

It was Hirsch’s first production at the Old Globe, and with the Iran-Contra Scandal freshly relevant, the titular character had Oliver North resonances, the Romans resembled (white) Americans and the Volscians were Latin American / Latinx.

2018 New Carpa Collective

Tempe, AZ

by Angelica Cabral

(dir. Angelica Cabral)
Link to full article

Cabral adapted Shakespeare's play to the contemporary U.S. to address immigration and police aggression. Coriolanus is half-Latinx and his mother is undocumented.

Courtesy of Angelica Cabral


2000 Serious Play! Theatre Ensemble

Northampton, MA

HAMLET: Assault On Innocence / Asalto a la Inocencia

Original writing by Migdalia Cruz
Adapted and Directed by Sheryl Stoodley and Jonathan Cro

An exploration with nine actors told from a Puerto Rican perspective, here Hamlet and Horatio are involved in a hidden relationship.

Courtesy of Migdalia Cruz

2004 Baruch Performing Arts Center

New York, NY

Twelve Ophelias (a play with broken songs)
by Caridad Svich

(dir. Debbie Saivetz)

Svich's play with music has had a lengthy production history. The action takes place "in a neo-Elizabethan Appalachian setting" with Ophelia, Rude Boy (Hamlet), several other characters, and a Chorus of Ophelias. 

All images courtesy of Woodshed Collective
and from their 2008 production directed by Teddy Bergman

2006 Intersection for the Arts

San Francisco, CA

Hamlet: Blood in the Brain
by Naomi Iizuka

(dir. Jonathan Moscone

Iizuka's transposition of the Hamlet story to late 1980s Oakland took up gun violence and drugs. A collaboration of Bay Area groups, Moscone was the artistic director of CalShakes and the cast was comprised of six ensemble members of Campo Santo. 

2012 Shakespeare in the SummerStage

New York, NY

A King of Infinite Space
by Mando Alvarado

(dir. Jerry Ruiz)

Alvarado set the action on the Lower East Side and adapted the text to modern English. He incorporated the music of Pearl Jam for this theatrical concert event.

2012 Asolo Repertory Theatre

Sarasota, FL

Hamlet, Prince of Cuba
By: Michael Donald Edwards
Translated by: Nilo Cruz

(dir. Michael Donald Edwards)

Edwards shortened the script and Pulitzer Prize-winning playwright Nilo Cruz did the translation. The production was set in late 1800s Cuba. The cast performed the show entirely in English and on multiple nights, entirely in Spanish. Frankie J. Alvarez, who played Hamlet, writes about his experience in his essay in Shakespeare and Latinidad. This production is featured in Latinx Shakespeares (p.118-122). The theater provides numerous resources.

2013 The Goodman

Chicago, IL

Feathers and Teeth
by Charise Castro Smith

(dir. Henry Godinez)

Castro Smith’s 1970s dysfunctional family drama has Hamlet themes. It was part of the Goodman’s 2013 and 2014 New Stages Festival before its premiere in 2015. It centers on a teenage girl and brings in elements of horror.

2016 Apollinaire Theatre Company

Chelsea, MA

Ay, Pobre Yorick
by Andrea Rios and Armando Rivera

(dirs. by Andrea Rios and Armando Rivera)
Link to full article

This was a summer student production in which three young female actors played Hamlet in a bilingual show.

Images courtesy of Erin Clossey

2017 The T.R.U.T.H. Project

Houston, TX

by Josh Inocéncio

Link to full article

Inocéncio queers and re-genders the character of Ophelia in this ten-minute play to address issues of sexual assault.

Image courtesy of Seattle Shakespeare Company

2017 18th & Union

Seattle, WA

House of Sueños
by Meme García

Meme Garcia first wrote a solo show in 2015 titled House of Sueños for their undergraduate honors thesis. It included lines from various Shakespearean plays and was not based on Hamlet.

In 2017, Garcia performed a new version of House of Sueños that was based on Hamlet and took up at 18th & Union in Seattle. It was a 1-person show for about two years and it was performed in in various spaces. In 2021, it was made into an audio drama, and Garcia was not in it. It deals with trauma and has elements of horror, and it includes multiple Englishes and Spanishes.


My essay on Garcia’s development process across the four versions of House of Sueños is in process.

2018 teletúlsa

Tulsa, OK

Hamlet, El Príncipe de Denmark
by Tara Moses

(dir. Tara Moses)

Moses adapted Hamlet for Day of the Dead festivities and integrated ritual into the drama. The production is featured in Latinx Shakespeares (p.122-129).

Photography by: Russell Mills
Courtesy of: Tara Moses

2021 Shakespeare Dallas

Dallas, TX

Yorick’s Last Laugh: a dead comedy jam wherein he spills the “T” about the Danish royal family
by Migdalia Cruz

This thirty-minute monologue was performed as part of the Hamlet Project along with similar style works.

2023 Folger Theatre

Washington, DC

by Reynaldo Piniella and Emily Lyon
Translation by: Christin Eve Cato

(dir. Tatiana Pandiani)

This bilingual Hamlet was in the works in 2019 and delayed due to Covid-19. It was part of the Folger's new play festival, The Reading Room.

Julius Caesar

1969 The Guthrie Theatre

Minneapolis, MN

Julius Caesar

(dir. Edward Payson Call)
Link to full article

Call set the action in an unspecified Latin American country. After West Side Story, this is the earliest Latinx Shakespearean production I have tracked.

Select pages from the Study Guide
Courtesy of Carla Della Gatta

1979 American Shakespeare Theatre

Stratford, CT

Julius Caesar

(dir. Gerald Freedman)
Link to full article

Freedman's production included a Castro-esque Latin American setting and multimedia as part of the dramaturgy.

1986 Florida Shakespeare

Miami, FL

Julio Cesar
by John Briggs and RH Deschamps

(dir. John Briggs)
Link to full article

One of Briggs' cultural adaptations of Shakespeare, this one included a Castro-like Caesar.

Courtesy of John R. Briggs

1988 Philadelphia Drama Guild

Philadelphia, PA

Julius Caesar

(dir. Michael Murray)
Link to full article

Murray used a contemporary setting of an unspecified "banana republic" for this production that included Indigeneity and gender-swapped roles.

1991 Jean Cocteau Repertory

New York, NY

Julius Caesar

(dir. Eve Adamson)

Adamson's production suggested a world of Latin American military juntas.

2014 Casa 0101

Los Angeles, CA

Julius Caesar

(dir. Robert Beltran)

Beltran directed an 18-person cast and made the setting and casting non-time period and non-gender specific. This was the first Shakespeare play for Casa 0101 Theater, which was founded by Josefina Lopez and serves as a cultural and arts center for the community of Boyle Heights. The production was also part of the Encuentro festival, hosted by the Latinx Theatre Commons.

All images courtesy of Casa 0101 Theater
Images courtesy of UCSB Department of Theatre and Dance
from their 2020 production

2017 UC Santa Barbara

Santa Barbara, CA

Trumpus Caesar
by Carlos Morton

(dir. Irwin Appel)

Morton's adaptation is a satirical response to the presidential election of 2016.


1985 La Compañía de Teatro de Alburquerque 

Albuquerque, NM

Macbeth: A Modern Mestizo Story Set In Central America

(dir. David Richard Jones)
Link to full article

One of several shows from La Compañía. The show was set in Central America during the peak of the wars in Nicaragua and Guatemala. Below is an article on the theater. Click the button for an interview with the director about this production.

2003 Commonwealth Shakespeare Company

Boston, MA


(dir. Steven Maler)

CSC set the action in a South American military junta, and the production starred Jay O. Sanders in the titular role. Saheem Ali was assistant director on the show.

2003 East Los Angeles Repertory Theatre Company

East Los Angeles, CA


(dir. Jesus Reyes)

This was the inaugural production for East LA rep. The show was performed at various parks in Boyle Heights and East LA. East LA Rep had a fundraiser, “Mole con Macbeth,” indoors at their then home, La Casa del Mexicano, serving audiences mole after the show. La Casa del Mexicano is a cultural landmark and it was also used to film the 1984 film, Breakin’ 2: Electric Boogaloo.

Flyer courtesy of Jesus Reyes

2004 The Chicago Mammals Theatre Company

Chicago, IL

Mexican Wrestling Macbeth
by Bob Fisher

(dir. Bob Fisher)

Bob Fischer’s Mexican Wrestling Macbeth sets the action amongst the celebrity of Mexican filmmaking and intermixes Shakespeare’s story with themes of numerous Mexican wrestling films. This was one of the many comedic mashups by The Mammals. It was performed again in 2012.

2009 E3Outlaws

New York, NY


(dir. Enmanuel García Villavicencio)

E3Outlaws staged a Spanish-language version of the show.

All images courtesy of Aurélie Camus

2015 Shakespeare in the Parking Lot

New York, NY


(dir. Jesse Ontiveros)

This production for Shakespeare in the Parking Lot was presented in the lot behind The Clemente, their second show (after a steampunk As You Like It) in that space. The setting was a banana republic, and Ontiveros drew inspiration from the Castro - Che relationship for the Macbeth - Banquo relationship. Shakespeare in the Parking Lot began in 1995, with The Drilling Company beginning to co-produce in 2001. In 2015, they produced five Shakespeare plays.

2016 UC Santa Cruz

Santa Cruz, CA

Marqués: A Narco Macbeth
by Stephen Richter and Mónica Andrade

(dir. Erik Pearson)

Richter and Andrade set the action in Mexico amongst the narcotraficantes. Marqués is the subject of my essay in Shakespeare and Latinidad. The production is available online in two parts beginning with the button below.

Photography by: Erik Pearson
Courtesy of: Kepano Richter
Photos courtesy of Ron Holman / Visalia Times-Delta
Poster courtesy of Chris Mangels

2018 College of the Sequoias

Visalia, CA

The Tragedy of Macbeth

(dir. Chris Mangels)
Link to full article

Mangels set the action along the US - Mexico border, retaining Shakespeare's dialogue for 80% of the script and writing his own iambic pentameter for the remainder.


2009 Promoteo

Miami, FL


(dir. Lilliam Vega)

Teatro Promoteo in Miami, the oldest Spanish-language college theatre program in the United States, began a two-year acting intensive program that culminated in a production of Otelo (Othello) at the annual International Hispanic Theatre Festival in 2009. 

Courtesy of Lilliam Vega

2015 Davenport Theater

New York, NY


(dir. Daniel Echeverria)

Echevarria set the action in Hispaniola with an all Latinx-cast, with Othello as racially-Black and the rest of the characters racially-white Latinx.

2019 SPIT: Spoken Word Theatre

& A Noise Within

Pasadena, CA

O-Dogg: An Angeleno Take on Othello
by: Alex Alpharaoh

(dir. Julianna Stephanie Ojeda)

Alpharaoh sets the action during the 1992 LA Uprisings with the  Othello character as Afro-Latinx and the Iago characters (played by Alpharaoh) as racially Indigenous Latinx. The Desdemona character is Korean-American, and the street graffiti crew dynamics play out across identities. This play is featured in Chapter Three of Latinx Shakespeares (p.87-94).

All images courtesy of Alex Alpharaoh
All images courtesy of Ulises Rangel

2019 Repertorio Latino Theater Company

Chicago, IL

by Ulises Rangel

(dir. Jose Burgos)

Rangel wrote the play for the third annual Chicago International Latino Theater Festival. It was performed entirely in Spanish and the action took place on a military base. With an all-Latinx cast performing for a Latinx festival, Rangel adapted the play to push against Othello as a jealous and violent Latino.

2020 Rose Bruford College

Sidcup, England

Desdemona's Child
by Caridad Svich

(dir. Steven Dykes)

Svich confronts the legacy of those with these famous names, addressing legacy and trauma that remain even when the character names have changed. Due to the outbreak of Covid-19, this production had one performance for industry guests and assessors before being cancelled. The production scheduled for later that year at Carnegie Mellon was also cancelled due to Covid-19.

2020 University of Hawaii

Honolulu, HI

Moore - A Pacific Island Othello
by Kepano Richter

(dir. Justina Taft Mattos)

Richter sets the action on a military base in the contemporary US. With a female Iago, Richter as Othello, and entirely produced during the summer of 2020 and Covid-19 restrictions, this show comments on and reflects present-day politics in all forms. A video of the show is available below.

Image courtesy of Kepano Richter

2023 The Guthrie Theatre

Minneapolis, MN

by Joe Falocco
Adaptation and translation by Alfredo Michel Modenessi

(dir. Maija García)

Joe Falocco's reimagining of Othello will have its first reading through the Guthrie Theater’s Professional Training Program. This reading will coincide with the Shakespeare Association of America (SAA) annual meeting.

Courtesy of Joe Falocco
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