By José Eduardo González
It may appear surprising or counter-intuitive to operate a bilingual, Latino-centered theater company in a city that is less than 10 percent Latino.
But for me, my wife Dañel Malán, and our colleagues at Milagro, establishing our artistic home in Portland, Oregon, has afforded creative and community-building opportunities we might not have had if we’d settled in Texas, California, or some other state with a more pronounced Spanish accent.
In one way, I think the organization’s success may be directly related to not being in the center of a major or a significant Latino population. We have articulated a universal approach to Latino stories, as opposed to just identifying with one country (say Mexico) or one ethnic identity (Chicano, for example). …