WORLD PREMIERE!
APRIL 24 - MAY 11, 2025
About the show:
How do you break free from an assigned narrative? Meet Carmelita Colòn, determined to do just that, challenging us to acquaint ourselves with assumed history and to reimagine what it means to reclaim our stories.
By Ana Maria Campoy
Not recommended for children under age 10
Why it’s a Must-See!
A tale of gold rushes, wars, outlaws, and tamale recipes!
Historical fiction immerses you in one woman’s treacherous and triumphant journey from 1860s Mexico to WA territory.
Sunday, May 4, 1:30PM
Cast and Crew

ANA MARIA CAMPOY (DIRECTOR/ PLAYWRIGHT)

ANTONIETA CARPIO (CARMELITA)

CLARICE MARX (THE VOICE OF HISTORY / ABIGAIL SCOTT DUNIWAY)

OLIVIA PEDROZA (COMPOSER / MUSICIAN)
Creative Team
Michelle Cesmat (Set Designer/Scenic Artist) is Resident Scenic Artist for KCPT. Her work includes GUNMETAL BLUES, BAKE TO ALASKA, REDD, WILD MAN OF THE WYNOOCHEE, WHAT THE DICKENS?!, and LIVING INCOGNEGRO. Michelle holds a BA from Western Washington University, Art Studio (major), Art History and Anthropology (double minor) and holds an Illustration Certificate. She is passionate about producing art, writing, culture, art history, and exploring the outdoors. Michellecesmat.com
Corinne Elysse Adams (Costume Designer) is a poet, story collector, editor, traditional musician, translator, and costumer. She holds a BA from Sophia University in Tokyo and a master’s in poetry from the University of Edinburgh. With the help of a generous grant from the Elizabeth George Foundation, she is working on the research, collection, and translation of pre-war and wartime Japanese women poets. She works for KCPT as a costume designer and spends much of her free time mending and restoring antique and vintage garments.
Brendan Chambers (Lighting Designer) is the Artistic Associate and Head of Education at KCPT. His lighting design credits include SEA MARKS (KCPT), LEGALLY BLONDE (Sequim High School), and PETER PAN (Port Townsend Ballet). Directing credits include: BAKE TO ALASKA, WILD MAN OF THE WYNOOCHEE, GUNMETAL BLUES, and DADDY LONG LEGS. Brendan is passionate about education and the arts, and is grateful for the continued support of their family.
Bry Kifolo (Production Stage Manager/Sound Designer) is thrilled to be part of the KCPT family as the Resident Production Stage Manager. Her most recent technical work includes sound designing for BAKE TO ALASKA, stage managing and writing THE CANTERVILLE GHOST, and crafting intricate sound designs for NEW MOON: A DOG’S TALE and AROUND THE WORLD IN LESS THAN 80 DAYS. A former KCPT Artistic Apprentice (2018/19), Bry was recently honored as Best Stage Manager for the 2023-2024 Season at the Sound on Stage Professional Regional Theater Awards. Bry thanks her dog, Harper, for always being ready for post-show walks and cuddles.
Barbara Callander (Historian) is a Seattle-based humanities scholar and performing artist who has been researching and disseminating the history of women’s rights throughout the state of WA and the PNW for over 25 years in conjunction with the creation and presentation of lectures, dramatic biographical performances and other programs about suffrage in Washington, the Northwest, and beyond. Ms. Callander's numerous Humanities presentations over the last three decades have been awarded grants from Humanities Washington, the Washington State Historical Society, and ArtsWA, among others.
Gabs Nathanson (Stage Manager) is thrilled to be stage managing CARMELITA! They’re the current apprentice at KCPT and performed in the last two mainstage shows - Gretta in BAKE TO ALASKA and Mamillius/Perdito in THE WINTER’S TALE. Last year, Gabs was a teaching artist with the kNOw MORE Human Trafficking Prevention and Awareness program, using theater and improv to teach students. They were also a stage manager and performer in burlesque shows at LoudFridge Theater Company.
Spoiler Alert!
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The story begins inside of a quiet museum while the AI audio guide known as the Voice of History shares a short history about the display’s subject, Carmelita Colon, a Mexican who migrated to Washington in 1860. Despite it being a display focused on her, little to no information is given on her history. Carmelita comes to life and demands the opportunity to fully share her story.
Carmelita begins her story in her childhood in Huasabas, Sonora. The youngest of four from a family of vaqueros, her knowledge and skills with horses and burros and love of reading, along with the Mexican-American War shape her destiny. In hope for her safety and possibility of a more peaceful life, she goes to live in the California gold rush town, Coloma with her brother and father. At twenty she meets her spouse, Sebastián Colon, from Barcelona Spain. They get married and seek their fortune in the Pacific Northwest, settling in Walla Walla, WA. For several years they run a mule train from Walla Walla to Idaho, carrying gold and goods back and forth. Once Carmelita is pregnant she can no longer participate in the mule train. She learns how to be on her own for the first. When times are difficult, Carmelita makes the traditional food her Abuela and Mother taught her (machaca, cocido, y tamales) to feed herself and earn a living.
Despite the first years of marriage being joyful and full of hope and adventures that include outlaws, shoot outs, and becoming parents, Carmelita and Sebastian’s marriage begins to fray. His lack of compassion to the news Carmelita receives regarding the Bacum massacre and his constant gambling, have Carmelita doubting herself. Throughout it all, she continues to make food to sell and feed hungry members of the Walla Walla community. She and Sebastian set up a food tent by the water, selling out of their food almost daily to the residents of Walla Walla, meeting the hunger of leisure and labor. One day, she meets two prominent Seattle women, Eliza Hurd and Sarah Yesler, and they inspire her to listen to Abigail Scott Duniway, a devoted and persistent suffragist from Oregon.
Despite Carmelita’s newly strengthened self-respect and celebration of ingenuity, her marriage continues to crumble. With the help of a Seattle lawyer, Carmelita is able to secure a divorce. She opens her own restaurant, along with community support. At last in charge of her own domain, in the evenings she turns her restaurant into a learning center for women. Ultimately, she shares that she wasn’t able to return to her pueblo, Huasabas, in Mexico until her seventies, prior to the start of the Mexican Revolutionary War. She challenges those who witness her story to take the lessons from her life and apply them to theirs, while finally coming to rest. The lights slowly fade as the Voice of History’s recording begins anew, this time with Carmelita’s story and now self-centralized in her own history.
Show Sponsors
This production is funded in part by a National Endowment for the Arts, Challenge America grant.
Season Sponsors
more this season!