The first Chicano play on Broadway, Zoot Suit incorporates bilingual dialogue and alienated Mexican Americans. The play grew out of California Chicano guerrilla theater. Luis Miguel Valdez questions newspaper accounts of the Los Angeles zoot-suit-Columbus Day riots and the related Sleepy Lagoon Murder Trial (1942). The drama uses song, dance, and a unifying narrative based on the traditions of the Mexican corrido (a ballad form that often reflects on social issues). Newspapers described zoot-suiters knifing and killing until stopped by the U.S. Navy and Marines and deservingly imprisoned (“Police Nab 300 in Roundup”); Valdez contrasts this yellow journalism with a very different reality: lively, harmless singing and dancing interrupted by police violence (“Marines and Sailors . . . stomping like Nazis on East L.A.”), mass arrests, and brutal police interrogations.
A zoot-suiter “master of ceremonies” called Pachuco narrates the action, dispelling illusion, showing reality, and providing flashbacks that characterize the protagonist, Henry Reyna, who is vilified in the white media, as heroic. This defiant, existential street actor wears the colors of Testatipoka, the Aztec god of education.
Reyna, a loyal American about to ship out for the war in the Pacific, becomes a scapegoat for the Los Angeles police. When a minor scuffle with a rival gang interrupts his farewell celebration with his girlfriend, he bravely...
(The entire section is 440 words.)