Displaying items by tag: Mexico

What is Mexodus? Part concert, part theatrical journey, and part history lesson, it explores a rarely told chapter of the Underground Railroad in which enslaved Black Americans sought freedom not in the North, but across the Mexican border. Following Mexico's abolition of slavery in 1829, enslaved Black Americans fleeing bondage in Texas found a path to freedom across the southern frontier, though the trek remained perilous and uncertain. Created and performed by Chicago native Brian Quijada and Nygel D. Robinson, Mexodus combines innovative live-looping, movement, and storytelling under the direction of David Mendizábal and choreography by Tony Thomas. Now playing at Chicago's historic Studebaker Theater, the production offers a fresh and compelling perspective on a little-known chapter of American history.

The story follows an escaped enslaved man who flees Texas for Mexico, where he encounters an unexpected ally and discovers that freedom, while attainable, is never simple. As the pair navigate cultural divisions, political tensions, and the lingering realities of oppression, Mexodus reveals a powerful tale of resilience, friendship, and liberation. Together, their journey becomes a moving exploration of companionship and human connection amid a world shaped by division and oppression.

But it is the way this story is told that truly sets Mexodus apart. One of Mexodus's most distinctive features is its virtuosic use of live-looping, a process that proves fascinating to watch unfold. Quijada and Robinson serve not only as performers but as the production's orchestra, creating beats, rhythms, harmonies, and sound effects in real time through a combination of voice, percussion, and live instrumentation. The score draws heavily from hip-hop while incorporating spoken word, layered vocals, and atmospheric sound design, resulting in a soundscape that is both modern and richly theatrical. Seemingly every instrument imaginable finds its way into this staging, showcasing the artists' remarkable versatility and creativity.

Brian Quijada and Nygel D. Robinson in Mexodus. Photo by Thomas Mundell.

Beyond its impressive musicianship, Mexodus also departs from conventional musical theater structure. Mexodus unfolds as a fluid blend of concert, historical exploration, spoken-word performance, and dramatic storytelling. Quijada and Robinson make full use of the performance space, shifting seamlessly between narration, character work, choreography, and music-making. As they travel across the stage, performance, movement, and music-making merge into a seamless theatrical language, creating an experience in which storytelling unfolds through both sound and motion. At times, audiences may find themselves just as captivated by the remarkable process of watching the music take shape in real time as they are by the narrative itself. For many, however, that genre-defying approach is precisely what makes the production so engaging, allowing the history at its center to feel immediate, contemporary, and emotionally resonant.

At the center of Mexodus are Quijada and Robinson, two tremendously talented and charismatic performers whose effortless collaboration makes even the show's most technically demanding moments appear natural. Their chemistry is undeniable, creating a sense of spontaneity and joy that carries throughout the evening. Behind the scenes, Music Director Alan Mendez expertly shapes Mexodus' rich musical tapestry, while Mikhail Fiksel's sophisticated looping systems architecture and sound design provide the foundation that makes the show's ambitious live music creation possible. Complemented by Johnny Moreno's evocative projections integrated into Riw Rakkulchon's scenic design, the show delivers a captivating theatrical experience for both the eyes and ears. The collaboration between P3 Productions, Audible, and Teatro Vista further underscores the ambitious scope of the undertaking.

By blending history, music, and performance into a seamless whole, Mexodus brings a little-known chapter of the Underground Railroad vividly to life in the most unique of ways. The production's inventive use of live-looping and its dynamic central performers create an experience unlike anything else currently on Chicago stages. Mexodus plays a limited three-week run at Chicago's historic Studebaker Theater in the Fine Arts Building, 410 S. Michigan Avenue, from November 7 through November 21, 2026. For additional information and tickets, click here. 

Highly recommended.

In the Chicago premiere of Cirque du Soleil’s 38th original production, LUZIA (a combination of two Spanish words, luz (light) and lluvia (rain)) transcends the audiences into a lucid dream, an imaginary world of Mexico. Based on traditional Mexican culture, this Big Top show reflects back on the beautiful country and the rich culture, history and mythology it draws its inspiration from; it’s playful, colorful and romantic.

LUZIA opens with the curious traveler/clown descending onto the stage outfitted with a large golden disk that resembles Aztec calendar; he turns a large key, and everything comes to life. Nature figures prominently in this beautiful spectacle: rain water, desert, animals and enormous insects crawling around during some acts will keep the kids in the audience well entertained. For the first time in Cirque du Soleil’s touring history, water is made an integral part of the show; rain is incorporated into acrobatic and artistic scenes; at one point the rain itself magically turns into silhouettes of plants and animals (set designer Eugenio Caballero). The stream of water culminates in the cenote (a naturally occurring sinkhole the Mayan believed was a sacred gateway to the afterlife) at the center of the stage floor. During visually enticing Aerial Straps act the performer glides across the cenote, flipping his long, wet hair around and interacting with a life-size puppet-jaguar whose movements are so well choreographed, the entire scene looks like a CG (puppet choreography by Max Humphries). Another highlight of the show for me was the contortionist Aleksei Goloborodko’s act, who is believed to be the most flexible person in the world. He first appears folded like a giant tarantula, then stretches into a snake and morphs back again into an insect – mesmerizing!

Guinness World Record holder Rudolf Janecek’s impressive performance (he can simultaneously juggle 7 pins at mind blowing speeds) is a tribute to the art of speed juggling popular in Mexico. Another time-bending act is the Hoop Diving with acrobats wearing bird costumes; the clever use of two treadmills creates the illusion of time speeding up.

A distinct vintage detail abounds throughout the show giving it a classy old Mexico feel. The old movie set is a reminder of simpler times, and the beautiful Adagio number has a romantic 1920’s flare with the three porters hurling a seemingly weightless female flyer above their heads in a graceful dance.

Costume designer Giovanna Buzzi kept the costumes colorful but subdued, with each scene having its own color or combination of colors creating bright yet sophisticated scenery.
As expected from a Cirque du Soleil show, a live band with a singer (Majo Cornejo) provide accompaniment during some acts, performing a total of 15 songs.

In the end, everything comes together: the music, the costumes, the performances. Co-written by Hamelin Finzi and director Daniele Finzi Pasca, LUZIA is a magical journey to the heart of Mexico. Highly recommended!

For more show information or to purchase tickets, click HERE.

Cirque du Soleil
LUZIAis Cirque du Soleil’s 38th original production since 1984, and its 17th show presented under the Big Top. The company has brought wonder and delight to more than 160 million spectators in more than 400 cities on six continents. Cirque du Soleil has close to 4,000 employees, including 1,300 performing artists from close to 50 different countries.
For more information about Cirque du Soleil, visit www.cirquedusoleil.com.