Quiara Alegría Hudes adapts her autobiography for the stage, showing how the arts we attend to, and the people we know, make us who we are.
One of my favorite moments in “My Broken Language”—written and directed by Quiara Alegría Hudes, at Signature Theatre’s Pershing Square Signature Center—comes when the femme performers of the play’s chorus walk in willowy patterns around the stage, each holding a book by a venerated writer. They lay the books on the ground and space them out precisely, forming a path.
“My Broken Language” is adapted from Hudes’s memoir of the same name, published last year. The play’s text is, almost uniformly, a monologue with the texture of loving, lyrical prose. Five performers—Zabryna Guevara, Yani Marin, Samora la Perdida, Marilyn Torres, and the always exciting Daphne Rubin-Vega, a longtime presence in Hudes’s work—take turns embodying the voice of the narrator, here called the Author.
“My Broken Language” is structured in “movements,” a nod to Hudes’s musical background: she plays piano and studied music at Yale. Onstage with the actors, backing them up or marking space between their words, is a pianist, Ariacne Trujillo-Durand. The sections move forward in time, showing us new aspects of the Author’s particular language.
After an El ride north through the desolate landscape, my matriarchs’ bodies were natural wonders. Nuchi’s eroded cheekbones were my Grand Canyon. Mom’s thigh jiggles my Niagara Falls. The tattoo on Ginny’s breast my Aurora Borealis. Facial moles like cacti in the sierra, front-tooth gaps like keyhole nebulae. The cellulite over their asses shone with a brook’s babbling glimmer. The sag of each tit—big ones and small—like stalactites of epochal formation.
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