Read, hot & digitized: Librarians and the digital scholarship they love — In this series, librarians from UTL’s Arts, Humanities and Global Studies Engagement Team briefly present, explore and critique existing examples of digital scholarship. Our hope is that these monthly reviews will inspire critical reflection of and future creative contributions to the growing fields of digital scholarship.
Theatrical adaptations provide audiences with opportunities to view classic tales through a new lens, offering fresh perspectives, insights, or entry-points for connection. Documenting this rich potential and cultural impact, the Latinx Shakespeares digital archive gathers information and artifacts from over 200 Latinx-authored and/or Latinx-themed Shakespearean adaptations, performed in the United States over the last 75 years. The site includes production information and synopses, related ephemera, and links to full filmed performances when available, as well as accompanying interviews, essays, and book chapters for expanded analysis.
The Shakespeare works are grouped into recognizable genres—Comedies, Tragedies, Romances, and Histories—with introductory framing and a simple, user-friendly layout. Romeo and Juliet, which I learned is the most adapted of Shakespeare’s plays for Latinx culture (catalyzed by West Side Story), warrants its own section.

There is also an interesting Inspired by Shakespeare category, featuring productions that remix beyond adaptation, intermingling characters or spinning off plotlines. For example, Milagro Theatre’s 2014 production, ¡O Romeo!, which layers Shakespearean elements with indigenous ritual in a trilingual (English, Spanish, Nahuatl) performance created for Dia de los Muertos.
While Shakespeare is the primary focus, the archive also includes adaptations of other Western classics, spanning region and time period. The largest collection is of Greek and Roman plays, in which we might find Medea transformed into a queer curandera in Cherrie Moraga’s The Hungry Woman: A Mexican Medea; Antigone portrayed as a DACA recipient in Marc David Pinate’s Antigone at the Border; or the island of Lesbos mapped onto a fictionalized Cuba in Aimee Suzara’s The Real Sappho. These works invite us to consider how the past performs in the present, and how enduring archetypes and characters can reveal meaning across contexts, with the textured nuance of intercultural interpretation.

Taken as a whole, the archive can help in tracking performance trends and themes and identifying key players in Latinx theatre. In addition to documenting past productions, Latinx Shakespeares is also a useful resource for finding out what is coming to the stage next. Updated monthly, the site has listings and ticket links for current and upcoming performances across the United States.
Digital projects such as this one are often institutionally situated, but Latinx Shakespeares is independently funded, managed, and maintained by theatre historian and performance theorist Carla Della Gatta, a labor of “love for theatre and theatre-makers.” The site was built using Wix, a relatively popular tool with free and paid tiers that enables customizable, beginner-friendly design and editing. Many of the photographs have a hover box feature which creates an effective text overlay, though I am curious about its interoperability with some screen readers.
Understandably, the project leans heavily on Della Gatta’s own monographs: Latinx Shakespeares: Staging U.S. Intracultural Theater, available open access on the site; and Shakespeare and Latinidad, edited with Trevor Boffone, with some chapters available for download (full text also available via UT Libraries). She also credits a long list of contributors, including former UT Austin professor Roxanne Schroeder-Arce, who wrote reviews of Romeo y Julieta from BYU’s Young Company and The Wizard of Atzlanfrom Teatro chUSMA. Della Gatta actively invites contributors to “grow the living archive,” and encourages folks to reach out with reviews, submissions, or to otherwise discuss content.

The site also features a blog (the entry “Jerry Garcia and His Ties to Shakespeare and to Latinidad” caught my eye) and a multi-faceted Resources list sharing related digital projects, podcasts, Latinx theatre organizations, and useful materials for practitioners. Several of the recommended resources that are not available open access can be found in the UT Libraries collection:
- Chibas, Marissa. 2022. Mythic Imagination and the Actor: Exercises, Inspiration, and Guidance for the 21st Century Actor. 1st ed. New York, NY: Routledge.
- Santos DeCure, Cynthia, and Micha Espinosa, eds. 2023. Latinx Actor Training. New York: Routledge, Taylor & Francis Group.
- Valdez, Luis. 2022. Theatre of the Sphere: The Vibrant Being. Edited by Michael M. Chemers; with an Introduction by Jorge A. Huerta. 1st ed. London; Routledge.
Additional UT Libraries resources on Latinx theatre:
- Boffone, Trevor, Chantal Rodriguez, María Teresa Marrero, and Encuentro. 2022. Seeking Common Ground: Latinx and Latin American Theatre and Performance. Edited by Trevor Boffone, Chantal Rodriguez, and María Teresa Marrero. London; Methuen Drama.
- Hernández, Paola S, and Analola Santana. 2022. Fifty Key Figures in LatinX and Latin American Theatre. Milton: Taylor & Francis Group.
- Rizk, Beatriz J. 2023. A History of Latinx Performing Arts in the U.S. Volume I. Abingdon, Oxon: Routledge.
- Stevens, Camilla. 2019. Aquí and Allá: Transnational Dominican Theater. Pittsburgh, Pa: University of Pittsburgh Press.
For more on classical adaptations, visit the UT Library digital exhibit, Diverse Adaptations of Classical Literature, created by librarian Adriana Cásarez.




































