Las dos caras del patroncito (The Two Faces of the Little Boss) is emblematic of Valdez’s early theatrical works, known as actos. Emerging from a collaborative improvisation during the 1965 grape strike, the play captures the audience's raw, immediate emotions. With directness and brevity, these actos not only channel the workers’ anger and rally them to unionize but also lampoon the growers, laying bare their injustices. This particular play shines by ingeniously inverting what philosopher Friedrich Wilhelm Nietzsche described as the master-slave dynamic.

The Encounter

The narrative unfolds with an undocumented Mexican laborer receiving a visit from his patroncito, or "little boss," who wears a pig mask and smokes a cigar. Initially, they both perform their stereotypical roles of domineering master and submissive worker with precision. However, the patroncito soon indulges in a romanticized monologue about his workers. Watching them "barreling down the freeway" with "hands on their sombreros, hair flying in the wind," fills his heart with joy, likening their happiness to that of carefree infants. “I sure do love my Mexicans,” he declares, encapsulating a patronizing attitude that views the migrant workers more as endearing children than equals. Yet, when the laborer dares to embrace him, the boss retracts, expressing his affection only "about ten feet away."

Twisted Logic and Irony

Their conversation veers into absurdity as the patroncito attempts to convince the farmworker of their supposedly luxurious lives. He glorifies their supposed "free housing"—the reality being dilapidated shacks, "free transportation"—the perilous trucks, and "free food"—the meager beans and tortillas. Meanwhile, he laments his own burdens, such as the pressures of owning a luxury car, maintaining a lavish home, and satisfying a wife's costly habits. He even challenges the laborer, asking, "Ever write out a check for $12,000?" This question drips with irony, especially for an audience of farmworkers who strive to earn even two dollars an hour, highlighting the vast chasm between their lived experiences.

The Power Shift

Despite his privilege, the patroncito voices envy for the laborers’ "freedom" and suggests swapping roles. The farmworker consents after some negotiation, and the boss hands over his pig mask, symbolically transferring power. With the tables turned, the worker dishes out the degrading treatment he has endured, laying claim to the boss’s possessions—his land, home, car, and even his wife. Realizing the gravity of this role reversal, the patroncito balks at the prospect of residing in vermin-infested dwellings, braving hazardous transport, or accepting paltry wages.

Realization and Reflection

By the play's conclusion, the worker has so thoroughly humiliated his former master, using slurs like "spic," "greaseball," and "commie bastard"—echoing the abuse workers have historically faced—that the boss, in desperation, cries out for help from union leader César Chávez and shouts "huelga" ("strike"). This transformation brings the play full circle, as the once hard-hearted owner becomes an unexpected ally of the union movement. The narrative implies that if those in power could experience the plight of the powerless firsthand, they might recognize their injustices and seek change.