Quiara Alegría Hudes is a playwright from West Philadelphia. Born to a Jewish father and raised by her Puerto Rican mother and stepfather, she identifies strongly with her Puerto Rican heritage. Hudes received her BA in Music Composition from Yale University, and her background in music has provided influence on her playwriting. She received her MFA in Playwriting from Brown University. Hudes is best known for writing the book of the Tony award-winning musical In the Heights and her Pulitzer Prize winning play Water by the Spoonful, part of her play series called the "Elliot Trilogy". She is currently a professor of playwriting at Wesleyan University and playwright in residence at Signature Theatre.
Synopsis
Iraq War veteran, Elliot Ortiz is haunted by a ghost from the war and is left to make funeral arrangements for his adoptive mother Ginny, alongside his cousin Yaz. Elliot’s biological mother, Odessa aka “Haikumom” leads an online chatroom for recovering crack addicts around the world, including a new addition “Fountainhead”, a businessman who struggles to accept his addiction and hide it from his family. After Elliot confronts Odessa about not help
Judy Woodruff: Quiara Alegria Hudes is a Pulitzer Prize-winning playwright whos also known for her collaboration with Lin-Manuel Miranda on the Tony Award-winning musical In the Heights, just released in a film version.
Now Hudes has written a deeply personal memoir called My Broken Language about navigating life as the daughter of a Puerto Rican mother and Jewish father in West Philadelphia.
For us, she has this Brief But Spectacular take on unearthing family stories.
Its part of our arts and culture series, Canvas.
Quiara Algeria Hudes: I have said that the story of my family is the American story.
There are so many Americas, and, in the United States, there are so many Americas. And I got to read about some of them growing up. Some of those books were assigned to me in high school. But my job as I became a young woman and a young artist was to learn about more of this nation, including my own history, which I had never read, was never assigned to me.
When I decided to really start writing, I wanted to interview my elders and my relatives. One of the first plays I wrote, I remember, it was about Puerto Rican men serving in the United States military
Quiara Alegría Hudes
News
Videos You Missed This Week: BOOP!, OH, MARY! and More
by Sidney Paterra - Feb 21,
It's been a busy week on (and off) Broadway! has officially arrived and the second half of the Broadway season has officially begun. Catch up on all the latest from the week ending February 21, with videos from , and more!
Video: Watch a First Look at IN THE HEIGHTS at Signature Theatre
by Michael Major - Feb 18,
Signature Theatre has released a video preview of In the Heights, with music and lyrics by Lin-Manuel Miranda (Hamilton, Encanto) and a book by Quiara Alegría Hudes (Daphne’s Dive, Water by the Spoonful).
Video: Inside Rehearsals For IN THE HEIGHTS at Signature Theatre
by Michael Major - Feb 11,
See inside rehearsals for In The Heights at Signature Theatre! The new video features a look into choreography rehearsals, as well as interviews with the cast and creative team, a first look at the set design, and more.
Video: 'In the Heights' from IN THE HEIGHTS at Signature Theatre
by Blair Ingenthron - Feb 8,
Watch Ángel Lozada and the cast of IN THE HEIGHTS at Signature Theatre perform the
Threshold
It was raining when I headed to Washington Heights to interview Quiara Alegría Hudes, who had recently won the Pulitzer Prize in Drama for her play, Water by the Spoonful. Despite wearing minimal makeup and no shoes when she answered the door, she was strikingly beautiful. She served me a Café Bustelo in a mug she had gotten at the Eugene O’Neill Theater Center, where she had been a resident playwright. (Hudes is a self-described “geek” about her “lucky” mugs.)
Hudes’s Pulitzer win was far from shocking. She had been a finalist for Elliot, a Soldiers Fugue (), and then again as a collaborator on the musical In the Heights (). Hudes’s repeated success reflects the consistently high standard she sets for herself and her work. But Hudes’s win ultimately came for the work that has so far been most challenging to audiences. “We got a lot of people saying that they came back twice,” Hudes says, “because there’s so much in there they wanted to hear again and spend more time parsing.”
The challenges of the play lie not in language but in difficult themes: the body, spirituality, and identity. The latter, in particular, has been a hot topic in her various interviews.
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