Radio QGLLU - Patricia Zamorano: Chicana Creativity and Queer Narratives in Theater and Film

Patricia Zamorano, a first-generation Mexican-American queer lesbian Chicana playwright, joins us to share her compelling journey from the Aliso Village housing projects in Boyle Heights to becoming a celebrated voice in the arts. Her experiences with violence and homophobia have deeply influenced her storytelling, bringing to life characters and themes that resonate with audiences on a profound level. Patricia's unexpected foray into playwriting at Casa 0101 paved the way for her to craft numerous plays and short films, showcasing the power of representation for underrepresented communities.

Explore the vibrant cultural renaissance flourishing in the brown and queer spaces of Los Angeles, where initiatives like Casa 0101, Queer Mercado, and Queer 360 are redefining community storytelling. We'll discuss the integral role of a dramaturg in shaping authentic narratives, ensuring that each story told is a genuine reflection of its community. Patricia's work on the Arena House Musical exemplifies this dedication to authenticity, as she collaborates to create narratives that resonate deeply with diverse audiences.

Patricia reflects on her transition to screenwriting, revealing the unique challenges and joys each medium presents. As we touch upon the parallels between storytelling and blue-collar professions, you'll hear how strong foundations and discipline are crucial in both fields. Recognized by the City of Los Angeles, Patricia's and her fellow artists' contributions underscore a steadfast commitment to community and creativity, even amidst the persistent challenges of funding and production delays in the theater world.

Chapters

• 0:05 Chicana Lesbian Playwright's Intersectional Stories
• 8:24 Los Angeles Cultural Renaissance Community Evolution
• 15:15 Evolution of Arena House Musical
• 22:44 Artistic Resilience and Community Impact

Transcript

Rita Gonzales: 0:05

Welcome to the Out Agenda. Coming to an archivekpfkorg, I'm Rita Gonzalez. Well, we have another segment of Radio Q, glue podcast.

Mario J. Novoa: 0:25

Welcome to Radio QGlu Podcast, the show that takes a deep dive into what the queer, gay and lesbian Latin community is talking about. I'm Mario Navoa. In today's episode we're talking with Patricia Zamorano. I'm Lydia Otero.

Eduardo Archuleta: 0:44

And I'm Eduardo Archuleta.

Lydia Otero: 0:48

Patricia Zamorano is a first-generation Mexican-American queer lesbian, chicana, playwright, producer and heavy equipment journeyman operator from Boyle Heights, los Angeles. Her storytelling journey began in 2007 at Casa 0101, where she wrote her first full-length play, you Don't Know Me, which premiered to sold-out audiences. Since then, she's crafted over a dozen short plays, monologues and two acclaimed short films, matriarchy, released in 2019, and Puta in 2021, both directed by Rosa Navarrete. Her work has been featured in Brown and Out and Chicanas, cholas and Chisme play festivals, and she serves as a dramaturg for Arena, a house musical which is played to sold-out crowds at Casa 101 and the LGBT Center. Recognized for her contributions to the Boyle Heights art community, patricia received an Artistic Achievement Award from the City of Los Angeles. Currently, she is developing two new full-length plays and working on her first screenplay, continuing her mission to tell powerful intersectional stories centered on Chicana, queer and working class experiences.

Lydia Otero: 2:14

Lucia, welcome. I'm going to start with this question about. I feel a certain kinship to you. We've shared our past in more public events, like the Mall Flora event. Was it two months ago at Plaza de la Raza? And here's the question to you you grew up in Boyle Heights. As a first generation Mexican-American queer lesbiana, chicana. Has your life experience influenced the themes and characters in your plays and screenplays?

Patricia Zamorano: 2:49

Yes, absolutely. Living in Boyle Heights in the Aliso Village housing projects. There was a lot of violence during that time and we were able to. We ended up moving out of the projects but it left a big, a big influence on how I happened to walk this earth. I was, you know, there was a lot of gangs, there was a lot of, there was queer, a lot of queer people when there was a lot of homophobia back in the projects and I got to witness a lot of that stuff and even through all the dysfunctions of living in the projects, I was able to steer my way around everybody right. So that kind of like growing up and coming into teatro.

Patricia Zamorano: 3:38

Really, when I went into the playwriting class in an unconscious level, writing class in an unconscious level, at first I didn't know that I was going to end up writing my first full length play about a gay, a lesbian woman in the closet and and that's how, that's how this journey began, with meshing the two together, my life of what I saw growing up in the projects and and even in and even in all the at the bars, at the clubs you know I got to go to. You know, robbie's, I got to go to Peanuts. I got to go to, you know, to all the old clubs and so a lot of that. I ended up just picking parts that were going to help this narrative of a play that I was going to tell the story about this young lesbian, chicana, who was in the closet and what did that look like? Because it would sit in the projects to a drug addicted mother. So, yes, the question to the answer to your question is that I was influenced by lesbian upbringing. Así lo voy a dejar.

Eduardo Archuleta: 4:50

This is Eduardo. You've written over a dozen plays and monologues, as well as two short films. Can you walk us through your creative process from idea to finished script?

Patricia Zamorano: 5:02

The creative process comes in many forms. There's a lot of people that will be in their own home, in their own office, quietly writing away, and then there's classes where you could either it's writing a book, writing plays and I just happened to get lucky and ended up walking into Little Casa 0101 before the big one was constructed and Josefina Lopez was the one that walked up on stage and invited people just the audiences to come in and show up to her playwriting class, and that's how I ended up writing this, my first play. I didn't even know I was going to write a play. I just needed an outlet because at the time I was caretaking for my mother and I needed a little break of something to to break just that, the routine of what I was doing, and so that helped me. So my creative process was right, right and right. Just keep writing, that's all it is and being inspired by everybody around you in the tables because we're all sharing work, so that kind of like gets your creative juices flowing.

Mario J. Novoa: 6:10

Hi Patricia. This is Mario. I wanted to touch on just the representation, visibility, and I know you've talked about this a little bit sort of in in a more creative process, but your work has been featured in festivals like Brown and Out and Chicanas Cholas y Chisme, which celebrate underrepresented voices. What do you think is the most urgent story that still needs to be told in theater today and I'm going to add, in film as well, or television?

Patricia Zamorano: 6:41

As a lesbian Chicana woman, I see that we're getting lost in the alphabet soup as, in terms of LGBTQIA+, it just continues growing. For me, I think, as a lesbian Chicana, I feel that there's an urgency to the stories that me, as a lesbian woman, tell. I would like to see more of that, and so I've been my own crutch to tell those stories. When I write for Brown and Out, which is LGBTQ festival, I make it it's very important for me to write a lesbian story, a dyke story, a butch story, because I I feel like I don't see those stories out there, and so I want to be one of, I'm hoping, many lesbianas, butch, masculine women that that are telling these stories, women that are telling these stories Lisa this is Lydia.

Lydia Otero: 7:44

again. You talked about Josefina Lopez and about Brown and Out. I was at the Brown and Out, I think, last year at the center. Every seat was taken. It was just such a great event. I could feel the vibe in the air and I was so impressed by it. I also appreciated all the vignettes, all the plays, but before the plays there was an introduction about the playwright, and so we got to know something about the playwright. So it was very different in many ways and I commend you for that.

Lydia Otero: 8:24

I felt like there was some sort of renaissance cultural renaissance, brown and queer renaissance going on in Los Angeles, and it's not, it's coming from and I see it in different places. I see it like, certainly, through what you all are doing in Casa 101, but I'm also seeing it like maybe the Queer Mercado, the Queer 360. I mean, I'm seeing it like they're all interconnected in many ways, and can you talk about those kinds of? Do you feel that too? Do you feel like coming together in terms of? Are these breakthrough moments in many ways? Do you see it like I do us?

Patricia Zamorano: 9:11

going from Casa 0101 to the LGBT Center down on McCadden was a big, amazing transferring of Jonathan Munoz. I'm going to give it up to Jonathan Munoz, who's the director over at the center invited us to come in and have these playwriting classes over at the center, and so for us I felt that that was a big step, as in terms of coming into white spaces and being able to tell these narratives in a bigger forum that will showcase not to to Raza but to all the other, you know, ethnicities, as in terms of the queer mercado, queer 360. I love it. I just love community. I mean, it reminds me of, like, if I'm going to take it back to my time when I was going to the tea parties and Paramount parties and you know we were hitting up again, I'll go back to peanuts, the meat market.

Patricia Zamorano: 10:26

It feels like that, but on a whole nother level, because everybody's trying to to. You know they're vending, they're, they're showing their artistic creations on their stages over at the queer mercado. Queer 360 is doing this. So I feel that there's a a symbiotic uh, uh, intertwining of of all these, um, because everybody's different, everybody's, everybody's on their own journey, bringing uh all this stuff and we're becoming it's inevitable. We're all interconnected. We all know each other, so it's a beautiful thing. I love it.

Lydia Otero: 11:06

I must say that when I was there, I was sitting near the front and I could see people I knew coming in, people I didn't know but I had I knew from social media coming in and I turned around and I just felt such pride because it's like Raza taking ownership of their stories. I do think too, when it was introduced I don't remember the young man, but he was white who introduced from the center, who introduced the program, not the program, but introduced the event he expressed that he was a little amazed that there was so many people there and it was a sold out event. And I just think, you know, being a queer, a brown queer activist for so long, like seeing different generations taking ownership of their stories and not waiting for others to tell their stories for them. Taking ownership and taking pride in telling all of the. All of the plays were different and they were about different generations and it was just we have so much to say, so much to offer so really impressed and proud of what you're doing, thank you it's eduardo.

Eduardo Archuleta: 12:18

again, you're part of a house musical and you played and I'm going to probably mispronounce this dramaturge yes, first off, what is that?

Patricia Zamorano: 12:32

You know it's just a fancy bougie word. I think, oh my God, you know it's a fancy word. You know dramaturge is really. It's like a story whisperer. I want to say, if you're just going to break it down, it's like a dramaturg helps the writer to help bring their story out of the core of their essence and what they see brought out into the pages.

Patricia Zamorano: 13:04

And you know, when Evo Alvarado, who wrote Arena House Musical, hit me up and he said, patricia, homegirl, I want you to be my dramaturg. I said I've never dramaturg for anybody. If anything, I've been my own dramaturg for my own work. And he said but, homegirl, you've already written two full-length plays, you've written so many stories and I think that you could help me get there. And I was very honored and grateful for the opportunity and the chance to evolve for myself in my journey with this writing process. And I took it very, very seriously because it was such a great responsibility to help a fellow colleague and my homeboy to take Arena House Musical to where it belongs. And when I told them, if I do this like you cannot marry your words, you cannot marry your words. And we're going to cut, cut, cut, we're going to edit, edit and we're going to keep rewriting until we get the story Because, if I know my people from arena back in the days, we're all going to see right through what isn't real, what isn't authentic, what we know.

Patricia Zamorano: 14:17

Growing up, like back in the 90s, when DJ Irene was DJing at arena and circus and he's like I'm down homegirl, so we went for it. When DJ Irene was DJing at Arena and Circus and he's like I'm down home girl, so we went for it. And so we started in 2018 and he already had a book. He had a close to 300 pages of a of a book and and it took us that long to cut it we went from 300 to set 275 to 265. And we just kept paring it down. But while we were doing that, we were getting readings over at the Shakespeare Theater. We were going to this Catholic school over there by Chinatown I forgot the name of it. We were, you know, developing this, this musical. So my role in shaping the production was I was knee deep in the book and it was a lovely and has been a lovely experience.

Lydia Otero: 15:14

This is Lydia. Can I ask a follow-up question, patricia? Yes, obviously you have some life experiences at Arena, but is it like evolving? Because? Is it going to play again? Because I see it coming up every so often. So it's like a play that you've shown it, but you keep showing newer, evolved versions of it yes, so what happened was in, uh, I believe in uh, 2020.

Patricia Zamorano: 15:45

I mean had my date a year off or plus or minus, but it was first staged at um, at casa 0101, to sold out shows, but then it was a COVID time, and so COVID happened and we had to cancel the following weekends and then so we went back to the drawing board. We had such great and back then it was a three hour show. That's how long this musical was. Pero fue así, ahí la llevamos. You know, here's the thing we weren't getting paid, like Broadway, you know, people get paid to write a book, to compose a music, to dramaturg the work, and there was no money. This was like an act of love.

Patricia Zamorano: 16:31

And so 2020, we did it, we went back. We did it again in 2021. And so what we've did it? We went back, we did it again in 2021. And so what we've been doing through the process is, we went from three hours to two and a half hours, to two hours, and so we've been cutting it. We got invited again at the Renberg Center, and so that was, I believe, last year or the year before, and so are we bringing it back. We are trying to have a full production of Arena House Musical coming into 2025. It takes money, it takes grants, it takes fundraising. So that's the plan right now. Our wish list is to bring back Arena House Music Go in 2025.

Lydia Otero: 17:18

I get to see it because I've missed it the last couple years. But I'm going to take the liberty of asking you one more question regarding Arena, because I went to Arena a couple times. I felt old there, but I remember the dancers, dancers it was just so fancy. I'm so modern, but you were there more often and you're young, much younger than me. So, uh, I I think of arena being, uh, a gay men's place. What about the lesbians in arena? What can you tell me about the lesbians in arena?

Patricia Zamorano: 17:51

oh man, beautiful. I mean, what can I say? Yeah, you know the the the ratio was higher, right, 75% gay men and 25% lesbianas, butch tomboys, everything like that. But but you know, there were points where it was like 60, 40, 70, 30, you know, you know we were all out there, but we were not, you know, with all the gay boys either. But we had a lot of. You know, I had a lot of gay boyfriends, but it was good. It was a lot of lesbianas, a lot of feminine butch dyke, tomboy women out there and we're just having a good old time party.

Lydia Otero: 18:33

Yeah, it was all about that scene.

Patricia Zamorano: 18:35

It was about dancing and having a good time. Yes, thank you.

Mario J. Novoa: 18:41

So, patricia, this is Mario, again Having been a playwright for I think it was a second or third Brown and Out, and that's where you and I met. Or I wrote the Baby Cries and I actually was so inspired by the experience, the creative experience of similar, similarly to what Lydia was just talking about, where you experience not just the play itself but you, you experience the environment and the people that are coming in. And so, to me, I started in theater in high school, so that was like 15 years later that I was back in the theater, as a writer this time, seeing the work playing out on the stage, the interaction with the audience. Because of my filmmaking background, I wanted to shoot the film version of it. So going from the theater side to film was completely a different experience because you no longer had the audience reacting to the drama and the comedy, and I know that you have mentioned in our previous conversations about what the differences are. So can you talk about that transition for you from stage playwright to screenwriter and then being in those two environments?

Patricia Zamorano: 20:06

Exactly what you said. I'm going to piggyback off everything you said. You don't get the sounds right, the gasps, the surprises of hearing the audience be surprised by what they're seeing on stage. It's a whole different environment. But the beautiful thing about what happened to me was just, I don't know, it just happened. Mario to me was just, um, I don't know it, just it just happened. Mario este, I had written uh, matriarchy was the first, it was a dialogue.

Patricia Zamorano: 20:42

Matriarchy was a dialogue that, um, I ended up writing and it got produced. That little casa and and I directed that piece with lauren ballesteros, it was just a one like one woman on stage sharing this monologue, and Lauren Ballesteros beautifully acted it out. And during that time, rosa Navarrete was one of the persons that was in the audience and at the end of the show she hit me up and she said, oh my God, patricia, I saw this as a movie. As I was listening to it and I said Thank you. And she said I would love to film it. And I said, oh, thank you, and I said Go for it. And so Rosa followed through, and so she ended up calling me and asking for a meeting, and then she asked me what do you want to see? During me filming Maytruck, and I said, oh my God, you're really going to do it. And she said, yeah, it's a 10 minute short. I gave her everything that I felt should be a part of what it looks like, and so I gave her all the notes. She went away and then, like a month later, she's like Patricia, I'm done. I said what do you mean? You're done, done with what she goes.

Patricia Zamorano: 21:56

I made the film Seeing the film Matriarchy, and it's about me and my mother. It was a very personal story Seeing this short film. Oh my heart, it was just so personal for me that, uh, she gave me the thing and the I don't know. She gave me something and I'm like what do you, what do you want me to do with this? And she's like, oh, it's for you. And I said, how? No, let's submit it. I said we got nothing to lose, let's submit it. We ended up submitting it to film festivals and we there was a few festivals around town and, um, we, we submitted to Sundance. We got a beautiful rejection letter, but, um, it was a lot of a lot of things.

Patricia Zamorano: 22:44

Um, yes, it's different, but me, being able to be at these film festivals, I was still able to hear how the audience was reacting to the matriarchy short film, but again, it's not the same. I know that it's two different methods. One is el teatro is live and and the film is on screen. Pero I don't know how to, how to really describe the audience's reactions because they're all different and you don't really get to hear a lot after the the play's over and people come up to you to tell you what they thought, they didn't think. Or people have come up to me and be like and you know, tell me like, oh, I could have written that that was my story. And I'm like good, you know, um, write it. You write your story, but, um, you know I write it. You write your story, but you know I've gotten a lot of different types of reactions.

Mario J. Novoa: 23:41

Did you get any type of audience comments for you after the film screenings?

Patricia Zamorano: 23:48

I did. They loved it. Thankfully, they loved both Matriarchy and Puta, and Puta was more abstract. It was very ambiguous with time because it was about Frida Kahlo.

Lydia Otero: 24:03

Patricia, this is Lidia again, and you know you're a storyteller. At the core you're a storyteller. I think at the core I'm a storyteller. That's why I mentioned earlier that I have a kinship with you, because, you know, as an author I feel like a storyteller, but I was also an electrician, in construction so, and you're a heavy equipment operator, and I feel like there's similarities between in construction and storytelling. Because I think we know, and see if you agree with me, we know that everything needs a strong foundation and everything is a step and everything is work, and that you have to build on and keep building on, and it has to be strong, and if it's not strong, then it's not going to stand up, and so let's have a blue collar conversation. Do you think I'm right in that assessment?

Patricia Zamorano: 25:03

I do, and the reason is that what you said is building a foundation. You know, before I became a heavy equipment operator, I went through the apprenticeship as a carpenter first, and so going through through that it was very physical work hammering all day long, carrying plywood, and and through the apprenticeship, the fundamentals and the basics, is going through these apprenticeship levels, go through your first step, your second step, third step, and they teach you the basics. You know, you got to read a tape measure, know how to hammer, just a lot of things. And so when I left the carpenters, I went to another apprenticeship with the operators and again I started from step one and building my way up to becoming a journeyman. That, for me, is discipline, because you know, just as going to college is discipline, your first year of college, our first year in through our apprenticeship, what does that look like? Well, in college you have to keep going to school until you get that degree to go to work, while the difference with apprenticeships is you're working while you're going to school through your apprenticeship, and so just a little bit different. But what I loved was you learn how to have discipline, you learn the basics of discipline. You learn the basics of what you said. Livia is starting the foundations. It's like building a house, it's like building a bridge.

Patricia Zamorano: 26:35

I think that has helped me be disciplined in what I like to do, as, in terms of writing, I've always loved to read and so reading, and then you know, being through these apprenticeships in a macho world and then coming from the projects, like my skin was already thick, I was already like I already knew how to navigate through all these places. So again going back to our blue collar careers I'm thankful for it, lydia careers. I'm thankful for it, lydia. It's given me so much. It's given me a way out of my own neighborhood and yet I'm back right smack in my neighborhood. I've been able to come back and be a part of this revitalization, of this gentrification that is happening, and I am part. I was able to come back and come back to my beloved Boyle Heights and be a part of this. But through the apprenticeships that I went through, the career that I've had, that has helped me to have the discipline to write.

Eduardo Archuleta: 27:39

This is Eduardo. You've been honored by the City of LA for your artistic contributions to Boyle Heights. What did that recognition mean to you, and has it influenced your commitment to the arts?

Patricia Zamorano: 27:52

Yes, it was so unexpected. That was for my first play, josefina, I ended up writing this full-length play and she loved it and she said I want this on my stage. And I'm like, oh my God, and she's like. And so it happened. And so, for my very first full length, she surprised me with the city awarding me with an award, a beautiful city of Los Angeles. Again, if somebody would have told me back in the day, when, in my parting days, that I was going to be awarded, you know, be a recipient of an award by the city of Los Angeles, I wouldn't have believed it. Again, back to having that, that pride, the gratitude of being something bigger for the community, was mind blowing. And so, yeah, I feel that I am still committed to my roots, to my upbringing, to my community, everything that I am because of where my mother decided to lay roots, here in Boyle.

Mario J. Novoa: 28:59

Heights resiliency theater often faces challenges like funding and production delays and creative burnout. How do you stay motivated and maintain your creative energy, especially when working on multiple projects at once?

Patricia Zamorano: 29:18

well, you know, funding is really hard. It's really hard to raise. If we don't get a grant, there's so many things that come into play. The resiliency that I've had with my own experience being a part of this theater world is that there's no rule book, at least not for me, because I I didn't go to school to write teatro. For me I've been.

Patricia Zamorano: 29:43

My resiliency has been in if I am not inspired to be a part of something and if I am not inspired to write anything, I will not. I will not write, and I'm OK with that because I feel that what works for me is what I feel all inside of me to be able to do something that inspires me to really take up the pen or get on the on the laptop, to to write. And again, I'll go back to my gratitude and being thankful that I've been a part of wonderful festivals, which has been Brown and Ounce. Come on, I get to be around all my joteria and share stories and then go home all excited to write something. Yes, that has been such a great like propeller and a jumpstart to like oh, I want to write something too. And with my beautiful chicanacholas and chisme that are also another part of Casa 0101 is all these beautiful intergenerational mujeres that are from in their 20s to their 70s and be able to tell these amazing stories that I was able to be a part of too. So, again, these, I think, where I try to find connection is with things that resonate with who I am as a person, and so if I can, if I feel it, I join it, and if I don't feel it, I step aside.

Patricia Zamorano: 31:13

And I'm not, you know, I'm not, I'm just not a part of this. But getting burnout is is actual fact for a lot of people, not only in theater but in in the Hollywood industry and and all that that everybody's trying to, to write their next big story, their, their next big movie, their next big book, their next big play. I just I don't, I don't want to take part of like, I don't want to go into the madness. I like to be methodical, I like to take my time and I've got full length plays that are just dormiditos, but I'm fine with it Because I just love the act of writing. So I, how do I? How do I survive in this world? Well, it doesn't. Let's put it this way. That doesn't pay my bills, it's just my passion. You know, my bread and butter is construction, so that pays my bills. But everything else is a love affair.

Lydia Otero: 32:12

That's what it is, for me, your projects that you're working on. What should we wait for, like what's happening? What should we look for in terms of how you write? What are we waiting for? What should we look out for?

Patricia Zamorano: 32:37

I've been working on a full length play. Last year I started writing on. I wanted to come outside of my box and tell a story of a straight man, and that was for me to challenge myself. It's called a different kind of a man and it's only six characters and I started writing it. I submitted it to la joya playhouse for the new four latinx playwriting submissions, and so that was coming out of my box. Um, because I've been in my comfort zone for too long, I needed a jump, right, I needed a jump, and so I submitted to that.

Patricia Zamorano: 33:17

I so I'm working on a different kind of a man and I'm trying to develop it more and and get a reading sometime in 2025 here in Boyle Heights. So that's one of my main developments that I'll be working on, and I do have a screenplay that I'm still trying to. Oh my God, just rewrite, rewrite, rewrite. That's another one that came out of my box was because I've been writing plays and going to a whole nother like format of writing screenplays. It's so different. So, again, I jumped out of my box again and I am trying my hand at writing a screenplay. So that's like two things that I will be working on besides working alongside Evo Alvarado and Arena, a house musical, because we are still. We went from 300 pages we're down to 98 pages and it's taken us since we started in 2018 to 2024 to get from 300 pages down to a beautiful book of 98 pages with original music scored and composed by Ben Larson and Gabriela Maldonado and Evo Alvarado. So that's what I'll be working on, lydia.

Mario J. Novoa: 34:38

Well, thank you, Patricia Zamorano, for joining us today on Radio Q Glue. It's been an honor to have you. How can people find you? Either through social media or through a website. How can people connect with you?

Patricia Zamorano: 34:53

Yeah, let's see. My IG handle is BP Zamorano and then Facebook is Patricia Zamorano and I am part of TNH Productions, so it could be wwwtnhproductionsorg. I am one of the producers, alongside Evo Alvarado and Rigo Tejeda, and we are Teatro Nuevos Horizonte Productions.

Mario J. Novoa: 35:24

Thank you for joining us today, Patricia.

Patricia Zamorano: 35:26

Thank you.

Eduardo Archuleta: 35:28

This has been.

Lydia Otero: 35:29

Eduardo Archuleta Lidia Otero and Mario Novoa.

Eduardo Archuleta: 35:32

Thank you for listening this evening.

Rita Gonzales: 35:34

This month's segment of Radio Q Glue. Playwright Patricia Zamorano. I'm Rita Gonzalez and we want to hear from you. Like us on our Facebook page or email us at theoutagenda at gmailcom. You can find Radio Q Glue on all podcast platforms. Thanks for listening. Have a wonderful week and remember that being out is the first step to being equal. Now stay tuned for this Way Out.