Quiara alegria hudes biography

Originally performed by 56 orchestral musicians, three actors, and eight dancers, The Good Peaches is a "girl versus nature musical play. Called "An immigration musical for the new Trump era" by the LA Times[ 31 ] the play is about a mother and daughter traveling across the country for seven days and addressing their fractured relationship. Hudes was the screenwriter for Lin-Manuel Miranda 's animated musical movie Vivo[ 32 ] released on Netflix on August 6, Contents move to sidebar hide.

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Quiara alegria hudes biography

In other projects. Wikimedia Commons Wikiquote Wikidata item. American playwright and composer born Early life and education [ edit ]. Career [ edit ]. Plays and musicals [ edit ]. Yemaya's Belly [ edit ]. Elliot, A Soldier's Fugue [ edit ]. Barrio Grrrrl! In the Heights [ edit ]. Main article: In the Heights. Water by the Spoonful [ edit ].

Main article: Water by the Spoonful. She is best known for writing the book for the musical In the Heightsand screenplay for its film adaptation. She received the Pulitzer Prize for Drama for Water by the Spoonfulher second play in that trilogy. They raised her in West Philadelphia, where she began writing and composing music as a child.

Hudes has said that, although she is of "Puerto Rican and Jewish blood", she was "raised by two Puerto Rican parents. Hudes graduated from Central High School in Philadelphia, and then studied music composition at Yale University as a first generation college student, where she earned her BA degree in To say to my cousin, to say to my mother, my sister, my aunt, I want to write about that thing that hurts, and that thing that hurts quiara alegria hudes biography be illiteracy in our family.

You know, it blew my mind when I had already gotten my Yale acceptance letter, to discover that loved ones in my family, elders, were illiterate. I wrote it with Lin-Manuel Miranda. And I wrote the book of the musical, which is a strange way of saying the script of the musical. And he wrote the music and lyrics, which are in the songs. Lin-Manuel was mining his experience, the treasures that he grew up surrounded by and the stories that he was eavesdropping on.

And we would be — it was like playing cards. 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. 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 does it mean to be a leader in a community that is in need? Designed to give a voice to those affected by mass incarceration.

Friedman, S. The gendered terrain in contemporary theatre of war by women. Theatre Journal, 62 4 Fugue, hip hop and soap opera: Transcultural connections and theatrical experimentation in twenty-first century US latina playwriting. Latin American Theatre Review43 1 Greene, A. No place like home. American Theatre25, Hudes, Q. Education and Equality.

The University of Chicago Press, p.