Jesse Sanchez

Jesse Sanchez

Jesse J. Sanchez is a nationally recognized music director, conductor, composer, orchestrator and arranger. ​Jesse is currently in residence as Music Supervisor at the Oregon Shakespeare Festival, a Tony Award-winning organization that stands as one of the preeminent destinations for American regional theatre. Most notably he served as the music assistant to Tony and Grammy Award winning orchestrator, Alex...
Jesse J. Sanchez is a nationally recognized music director, conductor, composer, orchestrator and arranger. ​Jesse is currently in residence as Music Supervisor at the Oregon Shakespeare Festival, a Tony Award-winning organization that stands as one of the preeminent destinations for American regional theatre. Most notably he served as the music assistant to Tony and Grammy Award winning orchestrator, Alex Lacamoire and the first national tour of Hamilton: An American Musical. Jesse has also worked with Dominick Amendum and Stephen Schwartz on the world premiere musical, The Prince of Egypt. His work includes many musicals, plays with music, and new works for numerous regional theaters including Arizona Theatre Company (Phoenix, AZ), American Conservatory Theater (San Francisco, CA), Theatreworks SV (Palo Alto, CA), Huntington Theater Company (Boston, MA), Seacoast Repertory Theater (Portsmouth, NH), and the Playwrights Foundation (San Francisco, CA). His work with collegiate programs includes New York University (Tisch), Syracuse University (Soyars Lecture Series), San Diego State University, Santa Clara University, Las Positas College, San Jose State University, San Francisco State University, and St. Mary's College. Jesse is the playwright and composer of new, contemporary Latinx musical, SUEÑOS: Our American Musical.

Jesse is a proud member of the Dramatists Guild of America. Recognitions include 2019 Green Room 42 New Works Series (SUEÑOS: Our American Musical), 2019 Eugene O’Neill National Music Theater Conference Semi-finalist (SUEÑOS: Our American Musical), 2019 Bay Area Playwrights Festival Semi-finalist (SUEÑOS: Our American Musical), 2018 American Theatre Magazine – featured in “ROLE CALL: People to Watch”, 2018 Oregon Shakespeare Festival Black Swan Lab Playwright, 2018 Silicon Valley Artist Laureate Award: Emerging Artist Nominee, 2017 TBA Award Nominee for Best Production of a Musical (IN THE HEIGHTS, WVLO), 2016 NCBA Young Band Director of the Year, 2015 Carnegie Hall Conductor (Westmont Chamber Chorale), 2015 CUSD Music Festival Guest Conductor, 2015 West Valley College Hall of Fame inductee, 2015 Comcast/NBC Bay Area All-Star Teacher of The Year Finalist, and 2014 Music Educator Grammy Award nominee.

Plays

  • SUEÑOS: Our American Musical
    SUEÑOS: Our American Musical
    A Latinx musical about family and their sacrifices and efforts to raise the next generation.

    ACT I
    The musical opens with Ali Viramontes returning his violin at a performing arts school in Los Angeles because his family is moving to Watsonville, CA. Ali receives a letter inviting him to audition for the national youth orchestra. The familial unit, Alex...
    SUEÑOS: Our American Musical
    A Latinx musical about family and their sacrifices and efforts to raise the next generation.

    ACT I
    The musical opens with Ali Viramontes returning his violin at a performing arts school in Los Angeles because his family is moving to Watsonville, CA. Ali receives a letter inviting him to audition for the national youth orchestra. The familial unit, Alex, Lupe, Desiree and Ali, continue their move to the family home in Watsonville and work in their family’s strawberry stand where they are greeted by the eccentric Tía Linda (“HERE WE ARE”). During Desiree and Ali’s first day at their new school, they meet Francesca and Jamie in orchestra class. Ali shares with his new friends his dream of one day writing symphonies (“THEY WILL SEE”). Over Labor Day weekend, Jamie, Ali, Francesca and Desiree meet in the strawberry stand. Jamie shares with the friend group his dreams to become the first black president of the United States and all the changes he will make in the world (“WALK IN MY SHOES”). October. Father Tom and Alex discuss Alex’s anxieties about providing for his family. Ali enters with his violin and when Alex discourages him from pursuing music, Father Tom reveals that Alex played in the church orchestra when he was younger. This revelation leads to a confrontation between Ali and Alex where the violin is thrown to the ground (“TO WIN YOU”). November. Linda announces that she is meeting with real estate developers in Mexico who want to buy the strawberry stand and land. She promises the family that she would never sell without their permission and convinces the entire family to come along on vacation (“ACAPULCO”). December. After gym class, Jamie, Ali, Francesca and Desiree agree to meet at the strawberry stand after school to work on their orchestra quartet assignment. Desiree teases Francesca about the crush she has on Ali. (“BIG BROWN EYES”) Later that night, with Jamie and Desiree having abandoned them, Francesca and Ali are alone at the stand. Francesca and Ali drink together as a celebration of their “3 month friendaversary.” The two end up kissing and stumble to the back of the stand together. Later that month, Ali is confronted by Francesca at Christmas mass and demands to know why he has been ignoring her for the past month. Ali brushes past her to get to confession with Father Tom where he reveals that he slept with Francesca and that he didn't actually feel an attraction towards her. Father Tom tells him it’s a phase and Ali leaves the church determined to tell the world who he is. (“FOUR WALLS”) When the family and Ali’s friends gather at the Viramontes’ house for New Years Eve, Linda reveals that when the family was in Acapulco, she tricked Lupe into signing the papers to sell the strawberry stand by getting her drunk. Before Lupe can react, Ali comes out as gay. Francesca confides in Desiree that she is pregnant. (“LIVE FOR TODAY”)

    ACT II
    Set 17 years after the first act. September. Ali gets Lupe to cover his shift at Vinny’s, the restaurant they both work at, so he can play with the mariachi and make more money to send to his teenage daughter, Sandra. Lupe talks with Father Tom about family troubles and her granddaughter’s potential as a writer. There’s a flashback. (“WITH HER HEART IN MY HAND/HERMOSA”). October. After Sandra’s 17th birthday party, Sandra, Alex and Lupe argue about obligations to family and legacy. Sandra sings about her splintered family (“PERFECTLY IMPERFECT”). November. At Jamie’s house in the middle of the night, Jamie lectures Ali about taking responsibility for his daughter and all he’s missed out on (“DADDY’S GIRL”). December. Linda pays a surprise visit to the family house, and the sisters argue and attempt to reconcile about the strawberry stand and keeping their family’s legacy alive (“ACAPULCO (REPRISE)”). January. Back at Vinny’s, Francesca, arrives at the restaurant to meet with Lupe after having been gone for many years. Lupe reveals she has cancer. They are interrupted by a phone call from Alex who says that one of Sandra’s essays about the strawberry stand has been published in the local newspaper. Francesca and Sandra reconnect briefly and Lupe starts treatment and passes away (“BIG BROWN EYES/LIVE FOR TODAY (REPRISE)”). Lupe’s funeral, Alex talks about the life of Lupe and makes a vow to keep the family together. (“TOO SOON”). Sandra shows up at Jamie’s house and confronts Ali about his absence from her life. Sandra brings Ali one of his old songwriting notebooks. Sandra asks Ali to mend things with Francesca. He sings a song that he wrote for Francesca right after they met (“WON’T BE FOUND”). Ali gets a phone call and learns that Alex submitted one of Ali’s old pieces to the Santa Cruz Pops and it was accepted for production. Febrero. The family gathers around the Viramontes’ table to open all of Sandra’s college acceptance letters. They are overwhelmed with pride when she is accepted to her dream program at New York University. (“FINALE/THEY WILL SEE (REPRISE)”).