About a minute into Sarah Tijerina’s My 7-Year Long Anti-Mexicana Remedy, one of the 28 abbreviate plays showcased in Better Butter, I alpha to admiration why the multidisciplinary artisan didn’t accord herself any lines.
Instead, to the addictive accent of Taylor Swift’s This Love, she anxiously shaves her forearms. She again spreads a foundation, acutely lighter than her accustomed bark color, assimilate her aglow amber face, again straightens her atramentous curls with a collapsed iron. As the beef rises to Jump-Start Theater’s aerial beam from her angular pulled strands of hair, I appear to the cessation that a lot has already been said.
By the end of the evening, I apprehend this accumulating of plays, a seamless abutment of theatre and political activism, can best be accepted and accepted by those who live, or accept abysmal roots, in San Antonio.
It’s a ages later, and I’m sitting in a amphitheater beyond from bristles of the seven casting associates at Jump-Start, a added bashful amplitude than its above area at the Blue Star Arts Complex. Lilith Tijerina, Sarah’s congenial twin, is the aboriginal to acknowledge to the achievability of the appearance actuality beheld through a political filter. Copper locks of coiled beard avalanche forth the abandon of her adolescent face. “What we did on date was not a political appearance so abundant as a appearance that showcased the things that we affliction about – which aloof happened to be political,” she says.
Artistically and ideologically, the performers assume to be in accompany with one another. They all met at SAY Sí, the adolescence arts apprenticeship organization, about bristles years ago. Joyous Windrider, 44, is sitting to my
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