Acting Production

Theatrefolk Featured Play – Not Going Anywhere by Emma Fonseca Halverson

Not Going Anywhere
Written by Lindsay Price

Welcome to our Featured Play Spotlight. Sometimes you come across a play that demands to be read, performed and shared. Not Going Anywhere by Emma Fonseca Halverson is one of those plays.

The Mexican family of Ale, Miguel, Mami and Papá are struggling to get by while ICE attempts to tear them apart.

Miguel wants nothing more than to not go anywhere, whereas Ale is desperate to leave and pursue theatre. This works out while Miguel works and helps out at home, and Ale goes to class and rehearsals, but when Miguel isn’t there anymore, Ale must choose between her future and her family.

Why did we publish this play?
We’re thrilled to be able to share Not Going Anywhere. Emma has created compelling characters and a story that, for many students, will hit close to home. The piece crackles with authenticity. It should be performed, it should be read and discussed in class. The story of what happens to Ale in the play is not uncommon – what happens when you have to choose between your future and your family?

Let’s hear from the author!

1. Why did you write this play?
This was at the start of quarantine when I wrote the first draft, and I was sitting at home a lot stewing in my thoughts about the world. My cousin who had lived with us had also just been forced to go back to Mexico without warning, and it the topic of immigration and ICE was very fresh on my mind. It was definitely a source of processing a lot of my own feelings that really helped me have an outlet.

2. Describe the theme in one or two sentences.
What are obligations to ourselves and to our families? How does family impact the choices we make in our lives? Family and culture would be the biggest themes in my eyes.

3. Why is this play great for student performers?
It views immigration through a teenagers eyes, and explores topics I think a lot of teenagers think about; and relate to family, culture, future, and identity.

4. Do you have any advice for those producing this play online or socially distanced?
I would say that even though the physical touch would be gone, to focus on the non- physical affection between the characters and their words.


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About the author

Lindsay Price