Sonata Escondida Playbill

Sonata Escondida

A person with long cardigan and long hair stands staring down a gravel road in the desert, with one hand on their hat on their head. Next to them is a piano bench, also in the middle of the road.

by Manuel Zarate

Directed by 
Ana María Campoy

Produced by special arrangement with Gurman Agency LLC

Produced by the Department of
Theatre & Dance

The video and/or audio recording of this performance by any means whatsoever are strictly prohibited.

A person wearing a backpack sits on a log over a lushly forested river, looking up the river

I want to acknowledge that this gathering and celebration is being produced by this Western Washington University on the ancestral homelands of the Coast Salish Peoples past and present, and honor with gratitude the land itself and the people who have stewarded it throughout the generations. This calls me to commit to continuing to learn how to be a better steward of the land I inhabit as well.

It is important to acknowledge the long-standing history that has brought us all to reside on the land, and to seek to understand our place within that history. Land acknowledgements do not exist in a past tense, or historical context: colonialism is a current ongoing process, and we need to build our mindfulness of our present participation. It is also worth noting that acknowledging the land is Indigenous protocol.

I would also like to recognize all the people who have built, created, and died in the process of this society being what it is today. The diasporic actions of the Euro colonizers have created damaging ripples in those communities that still require action to be taken.

Here in Bellingham Washington we recognize the Lummi, Semiahmoo and Nooksack tribes and their neighboring stewards the Samish, Stilliguamish, Sauk-Suiattle and Swinomish tribes.

Ana María from the shoulders up with a large smile in front of a wall with little cactuses painted on it. Ana María has short, curly hair that fades from dark to bright pink, large round glasses, and a yellow sweatshirt

Director's Note

Sonota Escondida shows us the complexities of love and healing: its need for bravery, listening, and wiliness to reach for each other. As we live this third pandemic winter, we have all experienced times of isolation of multiple kinds. It may feel sometimes that we have to endure all our struggles alone. The larger, systemic issues (climate change, white supremacy, corporate greed, etc.) that we are up against can feel insurmountable those days. Manuel’s story reminds us that what we need to heal and grow is each other. Admitting the need for each other is hard to express, it contradicts the American myths (or maybe obsession) of being “self-made” or “pulled up by the bootstraps”. To admit we need each other is simultaneously a declaration of bravery and vulnerability. To admit we need each other is an act of love. It is public acts of love that brings us thus far—essential workers picking our food, crafters making masks, healthcare workers showing up daily, delivery workers bringing food and medicine to those homebound, mutual aid communities responding to gaps in our systems, and so many more people and acts of love. We are not out of this yet; we are still processing our grief while trying to heal. We are not alone. May we continue to remember that we need each other more, not less. Let’s reach for each other. 

Assistant Director's Note

Manuel Zarate tells a story through authentic, flawed, characters who continually question and redefine their relationships to one another. While Margaret’s relationships are under constant scrutiny in this show, her queerness allows Margaret to build something heartfelt and grounded outside of a socially normative framework. Her story is a reflection of the powerful resilience and beautiful deep bonds that queer people of color forge. The profound and intimately universal love that develops in queer chosen families through rejecting heteronormative expectations serves as a model which we as the audience can build into our own lives. I hope this show empowers you to make declarations of love, both subtle and bold, to all those whom you call family. 


There are themes around trauma and death in this play. If you are grieving, you do not have to deal with it alone. Here are resources for you:

  • WWU Counseling and Wellness Center provides resources and support to our students, including Crisis Services, Survivor Advocacy and Support Groups to help promote wellness, empowerment, self acceptance, and healing for a range of circumstances.
  • Our Treehouse serves a loving and healing community for children, youth and families to grieve. Through peer support groups, provision of school-based support, and referrals to other community resources, we strive to ensure that grief has a place.
  • The Crisis Text Line provides 24 Hour Mental Support. Text HOME to 741741 or visit



Karina Provo 


Gabe Zuniga


Carly Cloward 


Katie Garcia



Tayler Robertson


Johncen Oxales


Madeline Cooper 


Amber Marcotte

Production Team

Assistant Director/Dramaturge

Kaitlin Losansky 

Stage Manager

Ethan Swim 

Assistant Stage Manager

Breana Robertson

Technical Director

Marc Mixon

Production Manager

Savannah LeCornu

Assistant Production Manager

Rosie Arnesen

Scenic and Props Design

Nicholas Ponting

Assistant Scenic and 
Props Design

Kharma Stambaugh

Assistant Costume Design

Rylan MacDonald

Lighting Design

Darren McCroom

Sound Design

Allissa Flood

Costume Design Faculty Mentor

Heidi Zamora

Costume Shop Manager

Rachel Anderson

Assistant Costume Shop Manager

Amber Pacifico


Deck Crew

Jesse Gervai

Sound Board Operator

Kyle Hertzog


Diana Hicks 


Maya Verity

Sophie Kashman


Kharma Stambaugh

Scout Powell


Assistant Master Electrician

Lane Burke

Electrics Crew

Abigail Fichtel

Avery Wisner

Gwen Pederson 

Scene Shop

Scenic Carpenter

Manson Root

Shop Assistants

Lane Burke

Gwen Pederson

Rhode Long

Ryan Martin


Ady Torres- Garcia

Aidyn Stevens

Celeste Zhou

Louise Heller

Morgan Mitchell

Recordings of Beethoven’s Sonata No. 14 (“Moonlight” Sonata”), “Heart and Soul”, and “Gymnopedie No. 1” used in this production were played by Samuel Borgmeyer

Special Thanks

Thanks to Trina Evans and Becky Kellow for stream access support!