Ramon Esquivel

Ramon Esquivel

Ramón Esquivel is a playwright and educator. His plays have been produced in theatres, universities, and schools in New York, Chicago, Washington DC, Austin, Pittsburgh, Vancouver BC, Seattle, and elsewhere in North America. Ramón is a 2021 nominee for the 4 Seasons Playwrights Residency and a recipient of a 2021 ReImagine Grant from Write Now, Theatre for Young Audiences/USA, and the Children's Theatre...
Ramón Esquivel is a playwright and educator. His plays have been produced in theatres, universities, and schools in New York, Chicago, Washington DC, Austin, Pittsburgh, Vancouver BC, Seattle, and elsewhere in North America. Ramón is a 2021 nominee for the 4 Seasons Playwrights Residency and a recipient of a 2021 ReImagine Grant from Write Now, Theatre for Young Audiences/USA, and the Children's Theatre Foundation of America. His play ¡O Cascadia! was developed at the Seven Devils Playwrights Conference in 2019. Recent premieres include The Hero Twins: Blood Race at the Magick Theatre (San Antonio), University of Texas at Austin, Appalachian State University; Above Between Below, which tours Washington and Oregon schools through a collaboration between Seattle Children’s Theatre, Oregon Children’s Theatre, and Kaiser Permanente; and Dulce at Pacific Conservatory Theatre (PCPA) and the Austin Latino New Play Festival. Available through Dramatic Publishing are three plays, Luna, Nasty, and Nocturnal, and works featured in two anthologies, New Visions/New Voices: 25 Years/25 Plays, and also Palabras del Cielo: An Exploration of Latina/o Theatre for Young Audiences. Recently, Ramón was a producer and dramaturg for the Brave New Play Rites festival of new work in Vancouver, Canada. He has taught English, history, drama, and creative writing in Washington DC, New York City, Vancouver, and Seattle, and been a guest artist at the University of Texas at Austin, Appalachian State University, Whitman College, Northwestern University, Central Washington University, and Phoenix College. Ramón is currently Assistant Professor of Theatre - Playwriting at California Polytechnic State University, San Luis Obispo. Education: B.A. History, Yale University; M.A. Educational Theatre for Colleges and Communities, New York University; M.F.A. Creative Writing, University of British Columbia.

Plays

  • ¡O Cascadia!
    For Ayo, Eshana, Hyun, and Tlaloc, discovering each other among the waters, forests, and mountains of the Pacific Northwest offers glimpses of the lives they yearn to live, and the hope that together all things are possible. But are they? As expectations of culture, family, society, and religion threaten to pull them apart, four friends struggle to hold their fragile world together, even as the earth breaks apart.
  • Dulce
    REVISED 2023 for touring-friendly version. A boy named Memo learns that Abuelita, his beloved grandmother, has died. Unsure of how to feel, Memo decides to find Abuelita’s hidden stash of candy. But his mother and sister are too caught up in their own grief to help, so Memo turns to an unexpected ally in his search for the dulce: Abuelita herself! Memo journeys with Abuelita through her memories as a child in...
    REVISED 2023 for touring-friendly version. A boy named Memo learns that Abuelita, his beloved grandmother, has died. Unsure of how to feel, Memo decides to find Abuelita’s hidden stash of candy. But his mother and sister are too caught up in their own grief to help, so Memo turns to an unexpected ally in his search for the dulce: Abuelita herself! Memo journeys with Abuelita through her memories as a child in Mexico and a young immigrant in the USA, and he discovers that the true treasure Abuelita left for him is familia. A bilingual play for young audiences (ages 8+) and families, Dulce draws on both magical realism and slapstick comedy to tell a story about cultural identity, intergenerational ties, and learning how to say goodbye. Dulce was featured at the 2018 Austin Latino New Play Festival and the 2019 Sin Fronteras Festival and Convening for Latinx Theatre for Young Audiences, Latinx Theatre Commons.
  • The Shahrazad Society
    REVISED JANUARY 2020. Six storytellers meet in secret to convene The Shahrazad Society. Taking their name from one of the first heroines in literature, the society's mission is to read banned books and share other stories forbidden to them by authorities at their school. Their first selection is The Thousand and One Nights. Each tale begins as an oral narrative before evolving into a theatrical staging (...
    REVISED JANUARY 2020. Six storytellers meet in secret to convene The Shahrazad Society. Taking their name from one of the first heroines in literature, the society's mission is to read banned books and share other stories forbidden to them by authorities at their school. Their first selection is The Thousand and One Nights. Each tale begins as an oral narrative before evolving into a theatrical staging (plays within plays), with the other society members assuming all roles. NOTE: Both full-length (120 min) and abridged (70 min) versions are available.

    Selena begins the evening's meeting with a tale: "The Story of the Fisherwoman and the Djinni" A fisherwoman faces an angry djinni. Her cunning allows her to outwit the all-powerful, but not all-knowing, djinni.

    Tara and Reinko ask about the society's namesake, Shahrazad. Malika tells that story: "The Story of Shahrazad and the One Thousand and One Nights" - King Shahryar, betrayed by his first queen, marries and murders a new queen each night. To save others, Shahrazad marries the king and enthralls him with stories until the sun rises on each new day.

    Dominica tells the story of Marjanah, the true heroine of one of Shahrazad's most famous stories: "The Story of Marjanah and Ali-Baba and the Forty Thieves." Ali-Baba learns where thieves have hidden their treasure. When Ali-Baba's life is in danger, his friend Marjanah deduces the thieves' plan for revenge, and saves him. [Note: The abridged version cuts this tale.]

    The young people adapt the traditional stories to reflect their own realities, fears, and hopes for a different world. Selena tells her version of the best known of Shahrazad's tales: "The Story of Badroulbadour, Ala ad-Din, and the Magic Lamp." Ala ad-Din, betrayed by a magician named Mustafa, uses the djinnis of a magical lamp and ring to win the heart of Princess Badroulbadour. When Mustafa seeks revenge, it is Badroulbadour's experience and wisdom that saves the day.

    At the end of the night, each society member vows to find new, taboo, banned, or forbidden stories they can "make their own," in spite of the danger they are in. The play ends with the promise of another evening of storytelling — another evening of freedom.
  • Aurora
    Two people, Kai and Halen, meet on the Aurora Bridge in Seattle in the middle of the night. Kai has come here to commit suicide, and Halen tries to stop the attempt. We learn that Halen committed suicide in the same spot two years earlier, and has reappeared to support Kai in a time of crisis. This play employs magical realism in an ultimately uplifting story about depression, grief, metaphysics, and the transcendent nature of love.
  • Should I Stay or Should I Go Now?
    After her going away party, MARIANA (18) has second thoughts about leaving tomorrow for college on the other side of the country. Besides the distance from family and friends, she doubts her career path. Who ever heard of a Puerto Rican girl from Queens becoming a marine biologist? With her flight only hours away, Mariana hatches a plan with her bestie ADAM (18) to share an apartment in the city and do a gap...
    After her going away party, MARIANA (18) has second thoughts about leaving tomorrow for college on the other side of the country. Besides the distance from family and friends, she doubts her career path. Who ever heard of a Puerto Rican girl from Queens becoming a marine biologist? With her flight only hours away, Mariana hatches a plan with her bestie ADAM (18) to share an apartment in the city and do a gap year instead. Their friend, HARI (16), always looked up to Mariana and is stunned that she is giving up on her college dream so suddenly. They turn to Mariana's cousin, SIERRA (23), for advice. A recent college graduate herself, Sierra understands Mariana's apprehension because her own college years were a struggle. Without support from her best friend, she likely would have dropped out. Sierra's honesty and vulnerability gives additional weight to Mariana's choice. Will she stay or will she go?