Work explores fatherhood, absence and resilience

▲ Cast of the production presented at the Shakespeare Forum. Photo courtesy of Lagú Danza

Angel Vargas

La Jornada Newspaper, Tuesday, August 26, 2025, p. 4

In Trágame sueño, a realm of magic and fantasy is brought to the streets of Mexico City to address universal and timely themes such as fear, the world of dreams, the transition from childhood to adolescence, filial love, and maternal absence.

Inspired by the book Dreamcatcher by German writer Michael Ende, this interdisciplinary show combines contemporary dance with acting, shadow theatre, animated projections, puppets and urban rhythms to embark on an adventurous journey in which the impossible becomes possible and family love is the key to overcoming any nightmare.

This story, primarily intended for children but also suitable for all ages, is being staged by the Lagú Danza company and directed by Érika Méndez. It will be presented at the Shakespeare Forum (Zamora 7, Condesa neighborhood) until September 28, with performances on Sundays at 1 p.m.

The show—created and premiered in 2023—was born from the desire to discuss profound topics in a way that was accessible to children, explains Erika Méndez, who is also responsible for the production, in an interview.

“Michael Ende's inspiration allowed us to create a universe where dreams and nightmares are the canvas for exploring fatherhood, absence, and resilience. We wanted children and their families to see themselves reflected in this story, which is both funny and deeply thoughtful,” he notes.

“It seems like a tough story, as it deals with the absence of the mother, but the treatment is playful, so as not to fall into drama, and it also reflects on the reasons that led this woman to make such a decision.”

Dream Journey Against the Nightmare Entity

The play tells the story of Domitila, a girl who can't sleep because of the nightmares that have plagued her since her mother abandoned them in her waking search for her dreams. Her father, a taxi driver named Rey, tries all kinds of remedies to help her, but to no avail.

During that time, the little girl, with the support of her younger sister, befriends a tribe of lucid dreamers and a mysterious figure she only sees in dreams. Together, they embark on a dreamlike journey to confront and defeat the dreaded Nightmare Entity.

In this 60-minute production, the original plot is transferred from the fantasy world of children's literature to the urban reality of Mexico City. The goal is not only to make it more accessible to children, but also to give more meaning to the choreography and music written for the production, which ranges from urban rhythms to cumbia sonidera.

The soundtrack, performed by The Toy Orchestra, is available on major streaming platforms, such as Spotify and Apple Music, with the same title: Trágame sueño .

"I don't like to say we're trying to convey a message, because everyone takes what they want or need from the work, but if there's one thing I'd like to share, it's that we can all face our nightmares and overcome them," emphasizes Érika Méndez.

The cast includes Angel Lara Martinez, Diego Martinez Villa, Frida Rios Mendez, Regina Fabian Mendez, Hector Fernando Venegas Mendoza, Oscar Michel Perez Maldonado, Myrna Lorena Sanchez Contreras, Carla Eugenia Rodriguez Torres, Camila Esli Valdes Aleman, Citlali Rojas Pedroza and Sergio Ulises Vazquez Contreras.

▲ The production, recommended for ages 14 and up, is presented at the El Granero Xavier Rojas Theater at the Centro Cultural del Bosque. Photo courtesy of the Federal Ministry of Culture.

Daniel López Aguilar

La Jornada Newspaper, Tuesday, August 26, 2025, p. 5

Under the glow of the Moon, a story of desire and power, of passions and mysticism, emerges.

Salomé , a tragedy by Oscar Wilde, comes to the El Granero Xavier Rojas Theater of the Centro Cultural del Bosque (CCB) in a version that reinterprets the classic text from a historical and contemporary perspective, directed by Tava Pope and adapted with María Inés Pintado.

The play is set in Galilee, a land of ancient prophecies and political upheaval, shortly before the death of Jesus of Nazareth. John the Baptist announces that the Messiah has arrived, and Herod Antipas holds the prophet prisoner, fearful of the forces that seem to seep into his palace like omens.

That night of celebration, Salomé arrives from Rome, drawn by the enigmatic figure of Iokanaan. Between desire, rejection, and fascination, a destiny unfolds that continues to challenge the present.

For Pope, the work was born from a question as simple as it was heartbreaking: has human beings evolved spiritually and ethically after 2,000 years?

“The answer was terrifying: no,” he explained in an interview with La Jornada . “What happened in that land called 'the cradle of civilization,' today a scene of conflict and death, resonates with the brutality of our time.

"We still believe we own people, capable of deciding their destinies. The parallels with today's reality are disturbing."

Pope and Pintado previously explored Dostoevsky in The Devils and The Idiot , with a minimalist stage concept of platforms and a cross in the center, where actresses played male and female characters. The same theme is now taken up with renewed vigor.

“We want to approach psychological realism,” Pope commented. “We want to inhabit the characters’ emotional landscapes, empathize with their spiritual, social, and philosophical struggles.”

Female cast

The cast is entirely female: Erika de la Llave, María Inés Pintado, Lucía Uribe, Sonia Couoh/Sak Nikté (who alternate roles), and Elizabeth Pedroza. The decision isn't meant to be an "explicit feminist statement," but it has symbolic resonance.

"We portray the men who have always been protagonists of history, using the wisdom they acquired while remaining invisible in the great human battles," the director said.

Female bodies simultaneously embody the passions of Salome, the intransigence of Herodias, the pride of Herod, and the prophetic voice of John.

Pintado, who also plays Herodias, noted: "I had to put aside my role as playwright to let the play follow its natural course and concentrate on the performance. This allowed me to create a more complex character, far from the usual caricature: a woman plagued by pain and contradictions, as human as she is disturbing."

“Revisiting Salome is also revisiting Palestine; the historical pain of a territory marked by violence is still present.”

The production, recommended for ages 14 and up, features set and lighting design by Carolina Jiménez, costumes by Gabriel Ancira, and a creative team that supports the director's vision in every detail.

The music, created and performed live by Ricardo Estrada and Sebastián Betancourt, takes center stage. With instruments specially built for this production, their compositions seek to reconnect the audience with nature and ancestral memories.

“We live in a brutal disconnection. We no longer see or hear each other. Music awakens the memory that we are one and that destiny depends on seeing each other again, touching each other, loving each other,” Pope said.

"With this performance initiative, we rekindle discussions about God, love, power, and human tragedy. This work reflects that same spirit," the director concluded.

Co-produced by Sempiterno Theatrum and the National Theater Company, Salomé will run Thursdays and Fridays at 8 p.m., Saturdays at 7 p.m., and Sundays at 6 p.m. at the El Granero Xavier Rojas Theater of the CCB (Paseo de la Reforma and Campo Marte) until September 28. Tickets cost 150 pesos.

Merry Macmasters

La Jornada Newspaper, Tuesday, August 26, 2025, p. 5

The Center for the Study of the Labor and Socialist Movement (Cemos), a civil association founded by Arnoldo Martínez Verdugo (1925-2013) in 1983, which houses documents of the Mexican left, is facing a difficult financial situation that threatens its survival. "Right now, we are in an absolute economic crisis. We have practically no resources," Gerardo de la Fuente Lora, director of Cemos, told La Jornada .

The "heart" of the Cemos are the leftist documents that Martínez Verdugo, the last secretary general of the Mexican Communist Party (PCM), undertook to gather. The collection also includes newspapers, prints, photographs, and more than a thousand posters produced by the left throughout the 20th century, some designed by the country's most prominent artists.

There are documents from 1927 to 1994 that contain a significant part of the history of the left. "We have something from all the movements, groups, and organizations," notes Jaime Ortega, director of the magazine Memoria , which the center has published for 40 years.

The Cemos's task is to preserve, research, and disseminate its collection. However, the organization relies on "the donations we can obtain from long-time activists and people who approach us." For more than a decade, Carlos Payán Velver, founding director of La Jornada , was the director of the study center and "supported it out of his own pocket for a long time," de la Fuente Lora asserts. At certain times, "the Senate and the House of Representatives purchased subscriptions to Memoria magazine. Our situation has always been precarious, although never as it is now," Ortega adds.

Memoria is in demand; however, “costs have risen sharply. After the pandemic, in particular, printing the magazine is very expensive, as is distributing the subscription. That's why we've released it digitally.” De la Fuente adds: “Until recently, we had funding from what used to be Conacyt (National Council of Cyclists), for example. What we do is submit proposals to calls for funded projects. We did that for the last three years and were able to survive. We've continued to do so; however, our proposals have not been accepted. That's why we don't have any funding at the moment.”

Regarding Cemos's financial needs, de la Fuente states that it "operates very cheaply because we all volunteer. We would require approximately 800,000 pesos a year to cover the costs of the work we do, which largely consists of cataloging, digitizing, and preserving the documents we have; for example, the archives of social leader Gerardo Unzueta Lorenzana, Marcos Leonel Posadas, and the Mexican Socialist Party." Cemos is located in a house it owns in Coyoacán, which Martínez Verdugo purchased.

If the necessary resources are not available, "in the articles of incorporation, the founders of the civil association established that, if they were unable to continue, the assets would be donated to a public state institution," de la Fuente explains.

The Cemos only accepts those interested in consulting the documents by appointment. "We're working at a minimum and we could continue like this, making great efforts that mean those of us who participate are contributing out of our own pockets, and some people are doing volunteer work. These aren't adequate conditions because the archive isn't properly maintained."

Projects in the pipeline

Despite the situation, Cemos isn't giving up and has several projects in the works. With the Senate's editorial committee, "we're going to do a poster exhibition and then a book." A book about Wenceslao Roces, translator of Capital , will also be published with the Faculty of Philosophy and Letters of the National Autonomous University of Mexico. "We've already published two volumes of selected works by Enrique Semo, a member of the Cemos board of directors, and we're going to publish two more with the Autonomous University of Mexico City."

Cemos is internationally renowned. "We receive visits from American researchers, especially in the summer, looking for material; also from Russia."

To sponsor Cemos, deposits can be made to the Inbursa account: 50063032748. Clabe: 36180500630327482. Concept: Support fee.