←Recommendations of The Guilt Mongers or Los Traficantes de Culpa (for those not willing to submit to the Anglicization of our people)

The family reunion death bed play is a well-worn genre in the American theatre. I don't know if C. Julian Jimenez breathes new life into the genre but he has crafted an entry into it that deserves to be oft-produced.

A beautiful play. Painful. Raw. Brave. And funny. Everything I love about C. Julian's writing is on full display - his wit, his heart, his complexity. And that nothing is every easy - but always human. Gorgeous.

Julian has crafted a wonderful sprawling family drama that tackles the toxic family tree by chopping off many branches. This family, full of unique and richly drawn characters, are gathered at the deathbed of a matriarch. They can't seem to accept one another - whether it be because of sexual orientation, social class, race, or the decision to reproduce. All of these topics are tackled with arch, quick-paced dialogue, and aching longing for understanding. Gorgeous.

The deathbead genre is reinvigorated in this funny, highly theatrical, exciting, and intersectionally unique play. This large and baggage-filled family is full of miraculously dimensional and developed characters. It's so amazing how Christopher packs revelations and nuance/character shading into a briskly moving evening of theater. I was moved to both laugh out loud and tear up as I read. Discussions about colorism, assimilation, living your truth, and losing your home culture were integral to the story, so thoroughly realized, and hit close to home. I hope to see this piece developed and produced soon!

This play was a FINALIST for the 2019-2020 In-Progress New Play Reading Series at Unicorn Theatre in Kansas City, Missouri. It is our pleasure to support THE GUILT MONGERS OR LOS TRAFICANTES DE CULPA (FOR THOSE NOT WILLING TO SUBMIT TO THE ANGLICIZATION OF OUR PEOPLE).

"You are on some self-loathing shit," comments a nurse, which could be said about almost any one of the family members in this outstanding deathbed drama. They bounce off each other like satellites, their pain played out in the open, bitterness graced with tremendous humor, with love and the need for acceptance and forgiveness riding just beneath the surface.

When the moment arrives, the release can't be called happiness, and even relief doesn't sound right. But it is a familiar feeling and through his words and characters Christopher communicates this experience of exhalation with rightness and compassion.