Interview: Playwright Israel López Reyes of THE LITTLE KING OF NORWALK

A tribute to Chicano identity in its various forms, The Little King of Norwalk by Israel López Reyes (pictured) is a modern barrio fable about power, politics and the price of survival, set against a real-life scandal that unfolded last year when Norwalk imposed a ban on shelters, supportive housing, and businesses that traditionally serve the poor.

Commissioned by Latino Theater Company and developed in its Circle of Imaginistas playwriting group, the world premiere of The Little King of Norwalk opens the company’s fall season on October 4 through November 2, directed by Geoffrey Rivas at The Los Angeles Theatre Center

I decided to speak with Israel López Reyes about the genesis of his play and the process of bringing it to the Los Angeles Theatre Center.

Thank you for speaking with me today. What type of theatrical training do you have that led you to playwriting?

I received a BA in English from Southern Methodist University and an MFA in Acting from UCLA School of Theater, Film & Television.

When did you first realize you wanted to write plays rather than appearing in or directing them?

I started doing theater because I wanted to tell stories that could make the world a better place. No matter what the role was in a production, I always said yes to a project because I believed in the story we were telling. Writing is just an extension of that.

Randy Vasquez, Xavi Moreno, Ruth Livier

I know you grew up in Norwalk and still live there. How did your personal connection to the city inspire this play?

I love Norwalk. I love the people and community found in Norwalk. It’s my home. There are not many stories coming out of Southeast LA County, and I wanted to write one that could make people proud of being from the area. I see a lot of beauty in Norwalk and the local things around me. I want to champion those things.

The story takes on serious issues—homelessness, politics, and corruption—yet it’s described as a “modern barrio fable” with touches of magical realism. How do you balance those elements?

The story is about a man who makes a promise to his mother to help his sister. He lies and decides to impersonate someone to do so. Consequently, he loses everything. The context of the story is the shelter ban in Norwalk and some flawed politicians at city hall, but ultimately the story is about Juan Perez and his sister. Everything stems from that story. The moments of magical realism stem from that, the emotional journey of this man named Juan.

Center: Richard Azurdia; Background: Ruth Livier, Xavi Moreno, Randy Vasquez

The play is loosely inspired by Gogol’s The Inspector General. What drew you to that classic, and how did you adapt it to a Chicano and contemporary Los Angeles context? Juan Perez, the central character, steps into power by accident. What do you think his story says about identity, deception, and survival in marginalized communities?

It was a recommendation by artistic director Jose Luis Valenzuela to look at Gogol’s work. I read two translations and thought it was great how the author was describing the state of Russian politics at the time. I enjoyed the premise because it’s a universal one – what happens when a common person becomes a decision maker? Will they contribute to the common good or become selfish?

I was drawn to it because I live in a city and state where Latinos are the majority but have no real political power. I believe it is inevitable that will change, but I am interested in the question of who my community will be once we do have power. Will we create harmony, or will we act like the ruthless and selfish individuals who are in power now? What is our responsibility?

Juan Perez’s story articulates how identity changes once we’ve “succeeded” and how many times we can turn our backs on our people once we receive an opportunity. It showcases how he begins to act like those individuals who oppressed him and serves as an example of how coming from a marginalized community is a beautiful gift, not something that needs to be thrown away.

Xavi Moreno (Juan) and Esperanza América (Wendy)

Wendy, Juan’s twin sister, represents grassroots activism. How does the sibling dynamic illuminate the play’s larger themes of loyalty, betrayal, and redemption?

Wendy always knows what to do. It’s clear for her because she sees the beauty in Norwalk and her people, she sees the value in her city. Juan, however, thinks success means ditching everything that made him and looking out for slick opportunities elsewhere. The sibling dynamic illuminates the larger themes of loyalty, betrayal and redemption because it shows how everyday choices affect our family and the people who care about us.

Are those two characters based on people you know? If so, tell me more about them.

Those two characters are not based on anyone I know in real life, but my mom does have a twin brother so I grew up around that and always thought it was special.

Tell me about how the characters interact to forward the storyline, and the actors portraying them.

The characters forward the storyline by making choices that drive them towards an inevitable fate. Ultimately, Juan’s selfish choices and Wendy’s activism collide at Norwalk City Hall. I’ve worked with Xavi Moreno (Juan) and Esperanza America (Wendy) for several years now at the Latino Theater Company; they’ve been in everything I’ve written for the stage.

The real-life backdrop—the Norwalk homeless ban—was controversial. What conversations do you hope the play sparks about housing, equity, and city politics?

Despite the issue being controversial, I didn’t write this for the politicians who passed the ban. I wrote this for people who maybe didn’t get the opportunity to have a dialogue about housing, equity, and their involvement with city politics. Maybe they can do that now at The LATC. I hope the play sparks dialogue about how we help each other solve these issues, and what contributions we can make that allow everyone to live dignified lives.

Is homelessness still an ongoing problem in Norwalk? How so?

The problem is not unsheltered people. It’s the cost of living. The rent is too expensive, which is why I think not just Norwalk but every city in LA County is having such a tough time addressing unsheltered people. It is a much larger conversation about class and the cost of living.

Randy Vasquez, Ruth Livier, Richard Azurdia and J. Ed Araiza

Latino Theater Company is celebrating its 40th anniversary this year. How does The Little King of Norwalk reflect or extend the company’s mission at this milestone moment?

I am so proud to be included in the Latino Theater Company’s 40th anniversary season, along with my amazing Circle of Imaginistas colleague Miranda Gonzalez, who has an incredible show titled Mascogos that opens a week after ours in Theater 1 at The LATC. I think The Little King of Norwalk reflects and extends the company’s mission of developing bold new work that honors tradition and innovation while celebrating the diversity of Los Angeles. It’s an honor and responsibility to be the fifth production as part of the Circle of Imaginstas initiative.

The playwrights in my cohort that were produced before this, Joel Ulloa (Tacos La Brooklyn), Oliver Mayer (Ghost Waltz), Marisela Treviño Orta (A Girl Grows Wings) and Rickerby Hinds (The Last Play by Rickerby Hinds) had such Wonderful Productions. I want to keep the momentum going for the remaining productions from my group. I want them to be set up for success. We’re making history with this initiative and to be part of it is incredible because it’s historical.
 

Randy Vasquez, Xavi Moreno, Ruth Livier

Were you approached to write the play for them to produce? Or did you write it on your own and take it to them? Have you worked with them previously?

I was approached and asked to be part of the Latino Theater Company Circle of Imaginistas in 2021. I got to know Jose Luis Valenzuela at UCLA when I was in graduate school and started to help out at The LATC around that time.

What do you hope audiences carry with them after seeing The Little King of Norwalk—both as theatergoers and as members of their own communities?

I hope they come away with more empathy for unsheltered individuals and realize that we all have a responsibility to our family and community.

Anything else you would like to share about yourself and/or The Little King of Norwalk?

This is a great local story that is universal and timely. I invite everyone to join us at The LATC to watch all of the shows and incredible artists this fall season.

Thanks so much!

Thank you!
The Little King of Norwalk opens on Saturday, Oct. 4 at 8 p.m., with performances thereafter on Thursdays, Fridays, and Saturdays at 8 p.m. and Sundays at 4 p.m. through November 2. Six preview performances take place September 25 through October 3 on the same schedule. Tickets range from $10–$48, except opening night which is $75 and includes a post-performance reception.

The Los Angeles Theatre Center is located at 514 S. Spring St., Los Angeles, CA 90013. Parking is available for $8 with box office validation at Los Angeles Garage Associate Parking structure, 545 S. Main St., Los Angeles, CA 90013 (between 5th and 6th Streets, just behind the theater). Metered parking is available on streets surrounding the theater. The closest Metro station is Pershing Square (two blocks west of The LATC).

For more information and to purchase tickets, call (213) 489-0994 or go to https://www.latinotheaterco.org/