“Latin History for Morons”: Pride is something which can not only be found in the history of the Hispanic community, but in its present

BY ANNABELLE ROSA

The year is 2012 and a little girl walks into her living room early on a Sunday morning. What she fails to recognize is the fact that within her, she holds the history of three great peoples: the Italians, the Irish and the Puerto Rican. She’s always loved the part of herself that was Italian and Irish, as she was closest to her family members of the same origin. But the Puerto Rican side? She’d never understood her Puerto Rican heritage enough to feel proud of it.

Her father sat on the couch, the TV turned on to one of the many paid stations, the movie “West Side Story” plastered to the screen. She asked her father about the film and he explained the premise. A Puerto Rican gang fights a rival gang– one that was Irish and Italian.

The girl, startled, looks to her father and begins to fall in love with the film that documents a battle between her people. She falls in love with Maria and longs to play the part. She admires her level-headedness as she challenges the gangs of Tony, the boy she loved and lost, and the gang of her brother, Bernardo.

A girl falls in love with her Puerto Rican heritage simply because she’s able to see someone just like her stand up for what is right, even if it’s just a movie. She is proud of her father and the fact that her grandfather came to the mainland from Puerto Rico at the age of 14.

Forgive the long introduction, but the preface was necessary to discuss the brilliance and the absolutely important and relatable nature of  “Latin History for Morons.” The Emmy Award winner and Tony and Golden Globe nominee not only grabs the audience’s attention, but presents a timely and well-written narrative on Latinx history and culture.

In the play “Latin History for Morons,” which can be found on Netflix, playwright John Leguizamo tells the story of his son’s middle school struggles involving a bully who claimed to be more significant simply because he came from a long line of Civil War heroes. In a simple game of cops and robbers, Leguizamo’s son is told by this classmate that “[you] beaners can’t be cops,” insinuating that he is lesser than.

Thus, the primary focus of his studies is the destruction of native peoples (i.e. the Aztecs, the Inca, etc.) that have contributed to the Latin bloodline, which seamlessly intertwines with his own personal narrative.

In an effort to help his son feel a sense of pride in himself, as well as his heritage, Leguizamo embarks on an intellectual journey in order to uncover the forgotten heroes of Latin history. He does so by analyzing the genetics of Latinx people and by delving into their history. In this experiment, he uncovers that all Latin people are “40 percent [Native American], 25 percent black, 25 percent white, 25 percent Jewish, 25 percent Lebanese and 40 percent of [an unknown origin].”

Thus, the primary focus of his studies is the destruction of native peoples (i.e. the Aztecs, the Inca, etc.) that have contributed to the Latin bloodline, which seamlessly intertwines with his own personal narrative.

Despite Leguizamo’s attempts, his son is still harassed by the bully, who declares that the boy is “the king of nothing.”

Leguizamo has the ability to portray multiple characters by changing his physicality and adjusting his voice. He can be his 14-year-old son one minute and just as quickly change to himself, his wife, his therapist or the bully’s father. Few actors possess the talent to carry a one-man show that isn’t focused on a singular person. The breadth of his acting skills are incredible and helps to facilitate comedy and meaningful dialogue.

In regards to his writing, Leguizamo also focuses on a topic that requires sensitivity and an understanding of an incredibly relevant topic: What does it mean to be Latinx in American society? The United States may be a melting pot, however, in today’s political climate, those who are of some sort of Hispanic lineage have to be wary of how they carry themselves, with illegal immigrants being pushed back to the borders and ousted like animals rather than people. Racial slurs even manage to make their way into politics. Despite all of this, Leguizamo is able to talk about his son’s plight in a very sensible manner.

The set of the show is particularly interesting as the stage was made to look like a college classroom, cluttered with books and other materials that might belong to a rather intriguing college professor.

The set of the show is particularly interesting as the stage was made to look like a college classroom, cluttered with books and other materials that might belong to a rather intriguing college professor.

Another layer is added to the show with the addition of interactive or creative components; Leguizamo is able to break the “third wall” and partake in active dialogue with viewers.  Throughout the show Leguizamo addresses the audience as a class, even calling out certain audience members for “bad classroom etiquette” or informing audience members about the meaning behind his word choice. Both of these have the ability to add comedic flair, such as when he explains that “Indian” is a term which he associates with a tribal chant that he promptly performs.

However, his time with the audience is also utilized to provide meaningful dialogue, regarding President Trump, as well as racism and prejudice in this country. Leguizamo performs several dances and rap-like songs when portraying certain historical figures.

One issue with the piece is the fact that Leguizamo seems to tire out after the first hour or so, which is understandable considering the amount of energy that is put into his performance.

Oftentimes, people don’t recognize the importance of valuing their heritage, and Leguizamo makes it a point to teach all of his audience members that if the Aztecs could create the concept of zero, even a supposed nothing can be meaningful.

Photo curtesy of  Public Theatre