Culture Clash (Still) in America
written and performed by Culture Clash
Richard Montoya, Ricardo Salinas and Herbert Siguenza
directed by ​Lisa Peterson
December 30, 2018 - January 20, 2019


Culture Clash is back, bringing their special style of irreverent, thought-provoking social satire with them. SCR audiences first experienced their smart, outrageous comedy in a playful adaptation of The Birds and later with the wildly popular Culture Clash in Ameri​CCa. With the world back under their microscope, expect laundry to be aired, public figures skewered and sacred cows poked. In other words: Classic Culture Clash!

Previews: December 30, 2018 – January 3, 2019
First Night: ​January 4, 2019
Regular Performances: January 5-20, 2019

Recommendation: High school and above. This production contains haze effects.

Running Time: Approximately ​9​0 ​minutes with no intermission.

Culture Clash is a Chicano/Latino performance troupe comprised of writer-comedians Richard Montoya, Ric Salinas and Herbert Sigüenza. Their work ranges from comedic sketches to full-length plays and screenplays that feature political and social satire. Their works have been collected in two volumes: Culture Clash: Life, Death and Revolutionary Comedy and Culture Clash in AmeriCCa: Four Plays. Their papers are housed at the California State University, Northridge Oviatt Library

Learn more about the production, cast & creative team with a peek into the program. Read full artist bios, in-depth articles and more.

Culture Clash

Culture Clash (Richard Montoya, Ricardo Salinas and Herbert Siguenza)
2019 marks their 35th anniversary, as a vital American theatre company with works ranging from sketch comedy to drama, to adaptations of Aristophanes’ The Birds, Peace and Frogs aka Sapo—to co-writing Frank Loesser’s long-lost musical, Señor Discretion Himself, based on a story by the late Budd Schulberg. In 2016, they received a Best Production of the Year Ovation Award for their critically acclaimed play, Chavez Ravine, remounted at the Kirk Douglas Theatre. In collaboration with the Long Beach Opera, Culture Clash premiered a remixed, reimagined and refreshed adaptation of Fairy Queen by Henry Purcell, based on Shakespeare’s A Midsummer Night’s Dream (2017). In the spring of 2018, Culture Clash premiered Bordertown Now at the Pasadena Playhouse to sold-out houses. 

Founded in 1984 on May 5 (Cinco de Mayo) in San Francisco’s historic Mission District, Culture Clash is Richard Montoya, Ricardo Salinas and Herbert Siguenza. 

This prolific group’s plays include American Night: The Ballad of Juan Jose (2010) for Oregon Shakespeare Festival (Ashland, Ore.). This play was selected to launch OSF’s “American Revolutions: The United States History Cycle,” along with other writers David Henry Hwang, Suzan-Lori Parks, Naomi Wallace and Robert Schenkkan. 

Their work has been produced by the nation’s leading theatres including the Mark Taper Forum, Lincoln Center, The Kennedy Center for the Performing Arts, La Jolla Playhouse, Berkeley Repertory Theatre, The Huntington Theatre Company (Boston), The Alley Theatre (Houston), South Coast Repertory, Seattle Repertory Theatre and The Goodman Theatre (Chicago). They have also toured and lectured at major universities including Syracuse University, Yale University, Stanford University, UCLA and dozens of state colleges in California. 

They have completed their cycle of California plays: Chavez Ravine, Zorro in Hell and Water & Power; prior to that, Culture Clash focused on site-specific theatre, weaving personal narratives culled from interviews into an ongoing dramatic tapestry. Theatre companies in Miami, San Diego, New York, Houston, Boston and San Francisco, among others, have commissioned Culture Clash to create performance pieces specifically for their cities. 

Other Culture Clash theatrical works include The Mission, A Bowl of Beings, S.O.S.-Comedy for These Urgent Times, Unplugged, Carpa Clash, Radio Mambo: Culture Clash Invades Miami, Bordertown, Nuyorican Stories, Anthology, Mission Magic Mystery Tour, Anthems: Culture Clash in the District.

Culture Clash has three books of compilations: Culture Clash: Life, Death and Revolutionary Comedy, Culture Clash in AmeriCCa and Oh Wild West: The California Plays with TCG Books available in the lobby. 

Creative Team

Lisa Peterson (Director) returns to SCR after directing The Madwoman in the Volvo by Sandra Tsing Loh and Collected Stories by Donald Margulies. At Center Theatre Group, she recently directed Lynn Nottage’s Sweat as well as Culture Clash’s Chavez Ravine (2015 Ovation Award, Best Production), Palestine, New Mexico, and Water and Power. She co-wrote and directed An Iliad with Denis O’Hare (Broad Stage, New York Theatre Workshop, Obie and Lucille Lortel awards). A two-time Obie Award-winner, she has directed world premieres by Tony Kushner, Beth Henley, Naomi Wallace, Chay Yew, Luis Alfaro, Fernanda Coppel, David Henry Hwang, Stephen Belber, Jose Rivera, Ellen McLaughlin, Marlane Meyer, Philip Kan Gotanda, Lisa Ramirez, John Belluso, Caryl Churchill, Janusz Glowacki, Cheryl West and many others at theatres including New York Theatre Workshop, The Public Theater, Vineyard Theatre, Manhattan Theatre Club, Primary Stages, Guthrie Theater, Actors Theater of Louisville, Seattle Repertory, Berkeley Repertory Theatre, Arena Stage and McCarter Theatre Center. She was associate director at La Jolla Playhouse for three years and resident director at Mark Taper Forum for 10 years. Peterson is currently associate director at Berkeley Repertory, where her recent productions include It Can’t Happen Here, adapted from Sinclair Lewis by Tony Taccone, Lillian Hellman’s Watch on the Rhine and Office Hour by Julia Cho.

Christopher Acebo (Scenic Design) returns to SCR where he previously designed La Posada Mágica, The Beard of Avon, The Countess, My Wandering Boy, Hold Please, Habeus Corpus, California Scenarios and The Further Adventures of Hedda Gabler. On Broadway, he designed All the Way (2014 Tony Award, Best Play). His regional credits include Oregon Shakespeare Festival—where he has been an associate artistic director for 12 seasons—with world premieres of All the Way, Equivocation, Head Over Heels, Fingersmith, Mojada and more than 30 other productions; The Clean House (Lincoln Center Theatre); Throne of Blood (Brooklyn Academy of Music); Zoot Suit, Electricidad, Chavez Ravine, Water and Power and Living Out (Center Theatre Group); West Side Story (Guthrie Theater); and The Year to Come and Zorro in Hell (La Jolla Playhouse). He has designed for Goodman Theatre, Yale Repertory Theatre, Berkeley Repertory Theatre, Denver Center Theatre, The Kennedy Center and Arizona Theater Company, among others. He is chair of the Oregon Arts Commission and a board member of Theater Communication Group. He earned his MFA from UC-San Diego.

Carolyn Mazuca (Costume Design) is a freelance costume designer based in Los Angeles. Her designs most recently have decorated productions of Two Noble Kinsmen at Kingsmen Shakespeare Company and Nice Fish at Interact Theatre Company. This past year, she had the opportunity to assist award-winning designer Julie Weiss at Oregon Shakespeare Festival on Destiny of Desire, in addition to being featured as a showcase designer at the 2018 Latinx Theatre Commons in Chicago. Mazuca is the costume designer for the upcoming production of Mother Road at OSF. Her work also extends into the film and television industry in LA. She has been a part of such productions as “Coop and Cami Ask the World,” “The Mindy Project,” “Only You” and My Dinner with Herve. She earned a BFA in costume design from Carnegie Mellon University. She can’t wait to see what amazing future projects await her!

Tom Ontiveros (Lighting and Projection Design) returns to SCR having previously designed A Doll’s House Part 2, Going to a Place where you Already Are, Fast Company, The Motherf**ker with the Hat and The Long Road Today. His off-Broadway credits include The Exonerated (The Culture Project) and Tune in Festival (Park Avenue Armory). His other New York credits include Happy Days (The Flea Theater), Patience, Fortitude and Other Antidepressants (INTAR Theatre), Nada Que Declarar (Danspace Project) and Veils, Vestiges and the Aesthetics of Hidden Things (Ontological-Hysteric Theater). His regional theatre credits include The Constant Wife (Denver Center for the Performing Arts); Othello, Romeo and Juliet, Off the Rails, (Oregon Shakespeare Festival); Native Gardens (Pasadena Playhouse); Underneath the Lintel (Geffen Playhouse); They Don’t Talk Back, Guards at the Taj (La Jolla Playhouse); Vicuña (Center Theatre Group); and My Old Lady, Visions of Kerouac (Marin Theatre Company). His Los Angeles credits include Figaro ¡90210! (LA Opera), Vietgone, Animals Out of Paper (East West Players) and Café Vida, Seed, West Hollywood Musical (Cornerstone Theater Company). His awards include The Exonerated (Lucille Lortel Award, Unique Theatrical Experience), My Barking Dog (Los Angeles Drama Critics, Best Lighting Design), The House in Scarsdale (nominated, Best Projection Design, LA Drama Critics), Shiv (nominated, Best Projection Design, StageRaw) and Completeness (nominated, Best Lighting, Ovation Award). He is an assistant professor of design at the University of La Verne.

Paul James Prendergast (Composer and Sound Design) returns to SCR, where he previously composed music and designed sound for Lovers and Executioners, Habeas Corpus, The Further Adventures of Hedda Gabler, The Little Prince, My Wandering Boy and The Happy Ones. His productions with Culture Clash include Water and Power, Palestine, New Mexico, and Chavez Ravine. On Broadway, he received a Drama Desk nomination for All The Way. His regional theatre credits include Oregon Shakespeare Festival (25 productions), La Jolla Playhouse, Guthrie Theater, American Conservatory Theater, American Repertory Theater, Seattle Repertory Theatre, Berkeley Repertory Theatre, Long Wharf Theatre, PlayMakers Repertory Company, Geffen Playhouse, People’s Light, Hartford Stage, California Shakespeare Theater, Utah Shakespeare Festival, Alley Theatre, Asolo Repertory Theatre, Great Lakes Theater and Arizona Theater Company. Prendergast is a former ensemble member of Cornerstone Theater Company. His theme park credits include Universal Studios, Disney and Knott’s Berry Farm. His museums credits include J. Paul Getty, Geffen Contemporary, Los Angeles County Museum of Art and Autry National Center. His dance credits include Diavolo Dance Theatre, Momix and Parsons Dance. His honors include a Grammy Award nomination, Broadway World, Ovation, Drama-Logue, Garland, Gregory, Footlight and Gypsy awards. His work as a singer/songwriter has been featured in films, on recordings, and in music venues nationwide. 

John Glore (Dramaturg) has been SCR’s associate artistic director since 2005, following five years as resident dramaturg for LA’s Center Theatre Group. He previously served as SCR’s literary manager from 1985 to 2000. He has worked as dramaturg on more than 100 SCR productions, workshops and readings including the Pacific Playwrights Festival world premieres of Mr. Wolf by Rajiv Joseph and Office Hour by Julia Cho. His ongoing collaboration with Culture Clash has included co-writing new adaptations of two plays by Aristophanes, The Birds (co-produced by SCR and Berkeley Repertory Theatre, 1998) and Peace (Getty Villa, 2009) and serving as dramaturg on four other Culture Clash productions. His own plays have been produced at SCR, Arena Stage, Actors Theatre of Louisville, Berkeley Repertory Theatre and other theatres across the country.

Alyssa Escalante (Stage Manager) returns to SCR after working on last season’s production of Gem of the Ocean. Her recent credits include The Bacchae (SITI Company/Getty Villa), theatre is a blank page (SITI Company), A Streetcar Named Desire (Boston Court Pasadena), Hold These Truths (Pasadena Playhouse), The Haunted House Party (Troubadour Theatre Company/Getty Villa), Criers for Hire (East West Players), Mojada: a Medea in Los Angeles (Boston Court Pasadena/Getty Villa), Cash on Delivery (El Portal Theatre), Happy Days (Boston Court Pasadena/Commonwealth Shakespeare Company) and Placas: The Most Dangerous Tattoo (U.S. tour). Much love and gratitude to Mom, Dad and Hannah Minerva. 

The Actors and Stage Managers employed in this production are members of Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

Richard Montoya and Ricardo Salinas in "Culture Clash (Still) in America." Photo by Jordan Kubat.
Ricardo Salinas and Richard Montoya in "Culture Clash (Still) in America." Photo by Jordan Kubat.
Richard Montoya and Herbert Siguenza in "Culture Clash (Still) in America." Photo by Jordan Kubat.
Ricardo Salinas in "Culture Clash (Still) in America." Photo by Jordan Kubat.
Ricardo Salinas, Herbert Siguenza and Richard Montoya in "Culture Clash (Still) in America." Photo by Jordan Kubat.
Richard Montoya and Herbert Siguenza in "Culture Clash (Still) in America." Photo by Jordan Kubat.
Ricardo Salinas and Herbert Siguenza in "Culture Clash (Still) in America." Photo by Jordan Kubat.
Herbert Siguenza and Ricardo Salinas in "Culture Clash (Still) in America." Photo by Jordan Kubat.
video video video
Ric Salinas and Richard Montoya with DonorsParty Play: Culture Clash (Still) in America

Culture Clash grabbed the attention of the First Night audience and never let up, delivering biting satire, comedic spontaneity and an honest, poignant look at life in cross-cultural America.

Culture Clash at SCR in 2008Culture Clash Back in the OC

Culture Clash (Still) in America marks the performance trio’s third appearance in an SCR season. Learn more about the evolution of the comedic group’s work at SCR, which spans two decades.

Culture Clash in 2008True Stories. Real People.

Irreverent, thought-provoking social satire—that’s Culture Clash in a nutshell. Read more about the 3-man group.

Socorro & Ernesto Vasquez


Events for ​​Culture Clash (Still) in AmeriCCa