Latino characters on Broadway

Includes bibliographical references (p. 21-22)Since the day I saw In The Heights, I have believed that all we Latino artists need is the opportunity to tell our stories. And it has piqued my interest to explore the path that led to Miranda's breakthrough musical about an extended Latino family living in Washington Heights, Manhattan, in the early part of the 21st Century. This project report will examine the Latino image in musical theatre from the negative stereotyped roles of gang members and criminals to an integrated society of family and home. To support my ideas I have referenced the journal articles: "Hispanics on Broadway" by Robert Dominguez, "Latinos Conquer Broadway with In the Heights'" by Ed Morales, and the book Contemporary Latina/o Theater: Wrighting Ethnicity by Jon D. Rossini. While researching this subject I found my personal background with the culture to be very beneficial. Growing up seeing the concerts of Tito Puentes, Cheo Feliciano, and having the opportunity of meeting Hector Lavoe, Celia Cruz and Oscar D'Leon supports my knowledge and point of view of Latina/o performers in musical theatre. Chapter Two focuses on the background of Latino culture and the use of it as part of a plot in West Side Story. Chapter Three examines the Chicano/Mexican culture and the play Zoot Suit and the riots in Los Angeles in the 1950s. Chapter Four illuminates the dark story and the Broadway musical flop The Capeman written and produced by Paul Simon. Chapter Five approaches the new and authentic image of a Latino community in the American musical theatre with the Tony Award musical In the Heights. Lin-Manuel Miranda proved that Hispanic culture is not only acceptable, but a perfect subject for an American Broadway musical. I am anticipating even more great things from Miranda, but I am sure we are going to be seeing more creative Latino artists as a result of his efforts