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Artwork for The Refocus Project: Year Two

The Refocus Project: Year Two

YEAR TWO: Readings: June 13 - 27, 2022. Streaming: September, 2022.

Three of these readings will be available to the public for free streaming in September 2022.

The Refocus Project: Year Two

YEAR TWO: Readings: June 13 - 27, 2022. Streaming: September, 2022.

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The Refocus Project aims to transform the American theatre canon.

The works deemed to be “classic” plays have long been defined too narrowly and by too few. If we’re to have an equitable theatre, we must look to the past and shine a spotlight on the plays and playwrights that were left behind by history, not because of their merits but because of their identities.  

As a theatre company with a legacy of producing revivals, we realize we need to tell a more complete story and ensure we are an active part of the solution, not an ongoing part of the problem.

The second year of The Refocus Project spotlights Latinx playwrights from the 20th and 21st centuries, including René Marqués, Fausto Avendaño, María Irene Fornés, Rosalba Rolón, and Desmar Guevara, in partnership with Pregones/Puerto Rican Traveling Theatre (PRTT). This year’s plays have been selected in partnership with Pregones/PRTT and will be workshopped and performed in a reading series this summer in Roundabout and Pregones/PRTT spaces, featuring on stage and behind-the-scenes artists from both theatres.

We encourage you to get to know these works and join us in redefining them as the American classics they truly are.

The Oxcart by René Marqués
Translated by Charles Pilditch (1953)
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El Corrido de California by Fausto Avendaño (1979)
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Sarita by María Irene Fornés (1984)
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Harlem Hellfighters on a Latin Beat by Rosalba Rolón
with music by Desmar Guevara, James Reese Europe, Rafael Hernández, and the Harlem Hellfighters 369th Infantry Band (2010; texts ranging 1917-1940)

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Please contact for further information on these resources.

Leadership support for The Refocus Project is generously provided by the Ford Foundation.

Additional funding provided by Eugene and Joann Bissell, R. Martin Chavez and by Bank of America.

The Refocus Project is made possible by the Champions for Inclusive Theatre and Roundabout’s Forward Fund. We acknowledge the generous friends who support our many efforts to increase representation and inclusion in all aspects of theatre: Elizabeth Armstrong, Eugene and Joann Bissell, Bank of America, R. Martin Chavez, Herbert W. Engert Jr. and Timothy Miller, EY, the Ford Foundation, Kenny Leon, Beryl Snyder and Charles Randolph-Wright.