Cano’s ‘Malinche’: A musical that’s not all song and dance

For the past year and a half, over 1,000 individuals have gathered at El Frontón, an Art Deco theatre in Mexico City's historic Tabacalera district, to witness the musical "Malinche." The show, created, written, and directed by Nacho Cano, has been in full swing since its second run commenced on August 15. With more than 80 cast members performing flamenco, urban, hip-hop, and contemporary dances while dressed in flamboyant outfits, the production has left a significant impression on the Mexican theatre scene.

El Frontón, which originally hosted a two-and-a-half-year run in Madrid, features a small pyramid, cenotes, pyrotechnics, and live bands, adding to the show's visual impact.

Despite its impressive production values, "Malinche" has faced criticism for its perceived historical insensitivity in depicting the 1519 Spanish Conquest and the Christian awakening of Aztec emperor Moctezuma. The controversy surrounding the play necessitates a discussion that encompasses not just its portrayal of the titular Nahua woman, Malinche, but also the political context that aided its success.

The character of Malinche, often referred to as the "Mexican Pocahontas," played a crucial role during Spain's conquest as an interpreter and potential informant of the Cholula massacre. However, her story has been largely written from external perspectives, leaving little room for her own voice. Over time, Malinche's image has evolved, with some historians viewing her as a victim rather than a traitor, while feminist and Chicanx discourse have sought to empower her image and challenge the reduction of women to single narratives.