This past weekend, I had the chance to see Mexodus, playing at the Pasadena Playhouse through August 2, 2026. Walking in, I had zero idea what expect. I had never seen anything at The Pasadena Playhouse, but I am trying to get to know my new city while I'm here, I figured I would catch a performance.
Overall it was a ton of fun. I was a little sleepy going because of preaching that morning and the fact that it was a million degrees outside. When those houselights dimmed, I though, "Uh oh, I'm in trouble." Unlike the guy sitting next to me, I did not doze off and as the production progressed, my attention energy grew.
Without spoiling anything, Mexodus is a two-person musical, that tells the story of the underground railroad that goes across "the border" into Mexico and the interaction between a Mexican farmer and an enslaved person on the run. The unique thing about this musical is that the two performers create most of the music by recording sounds and instruments and then looping them into the backing music for all of the songs. Nygel D. Robinson and Alan Mendez were impressive.
If you are in within driving distance to Pasadena, this production is well worth supporting. My review of this musical pretty much consists of "Go see it!" so rather than offer any star rating or critical review, allow me to share a few thoughts that Mexodus sparked within me.
One more piece of history...
As far as the story goes, I was not surprised by the narrative. Of course there was and underground railroad that ran from Texas to Mexico. But because, like so many stories from the ancestors of this land that get buried in the mythic story of the formation of United State, I had never actually heard about it. I am so very appreciative of shows that broaden my understanding and knowledge of the world and Mexodus does just that. It gives "Larry, The Musical" vibes in that it exposes a wider demographic to a story that some already knew, not from the classroom, but from the many other ways stories are pass down from generation to generation. Yet one more time, because people were determined to tell a story that needed to me told, my understanding and knowledge of the world and those around me has grown.
A subtle nod to faith and liberation.
I was fascinated by some of Christian and Church references made by the performers before and after. With the backdrop of blatant trafficking and proliferation of Christian Nationalism in this United States, it was lovely to hear someone mention faith in a genuine way that acknowledged the reality that faith has been and is a part of all stories of liberation. Not sure if this was scripted banter, so I will not spoil what is actually said, only that I appreciated the sublet, yet powerful message that was offer to the audience to hold. I can only hope that is brought some nuance to people's understanding and impact of faith.
Applause turned into action.
Because this was a story about people of color, my guess is that there were more Black and brown folks present than usual. After living in Pasadena cumulatively for only six months over the past few years, I am not local, but when I arrived, I was not surprised by how white the crowd was.
Pasadena in many ways reminds me of Palo Alto, where I lived from 2019-2022. It has a provincial vibe going on, with the divisions between those from old Pasadena and the influx of housing that is bringing in young urbanites. My guess is that it is a generally "progressive" space. Not sure if is Biden, Warren, Sanders, or AOC leaning, but I am willing to guess that is it not Mamdani left. I would love to be proven wrong about that, but not holding my breath.
Mexodus is clearly a story that speaks to the oppression and violence inflicted upon Black and brown bodies, mostly by the United States. At times this was communicated with subtly and nuance, and other times there was almost a challenge to the white audience to remain comfortable in the face of such indictments laid at the feet of white America. There was one song in particular that probably made some folks squirm, but before the final note stopped ringing, the place erupted with applause. Obviously it was well deserved, but when white folks cheer with such gusto a direct challenge to origin and accumulation of wealth and power I am always left with the questions, "Do you know what this means?"
While I would love to give the benefit of the doubt that after being moved by such themes, people of privilege will then make choices that dismantle the cultural, institutional, and personal apparatuses through which that privilege was attained, but I have my doubts.
- Will people of means vote centered on their financial best interests or in ways that keep people trapped in poverty?
- Will people of security leverage and risk their power and influence so those who are oppressed do not have to risk their lives?
- Will people of comfort listen to the discomfort and resist falling into unhealthy patterns of racialized aggression, institutional barriers, and cultural exclusion directed at Black brown folks?
Essentially will the applause and affirmation offered to the performers indicate a substantially changed way of life — or is the bold and loud affirmation performative, self-soothing, and only expressed within the confines of the theater walls?
I hope people continue to create these types of offering for the world. We all need to see the fuller picture of the world's histories and hear stories that have long been silenced. Most important to me though is that the telling of these powerful and painful stories from the past, manifest themselves into the stories of love and liberation being built for today and the future.
I have no idea where the Mexodus production is headed next, but from the post-show comments it sounds like more performers are being added to the number of folks who could pull this off. If you are not able to catch it at the Pasadena Playhouse, hopefully, you'll have a chance to experience the power that is Mexodus at a venue near you.
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