This post was updated Oct. 23 at 9:44 p.m.

“The Little King of Norwalk” mingles political intrigue with comedic levity, crafting a mosaic of Chicano identity that reflects and unites the realities of a Los Angeles community.

Commissioned by the Latino Theater Company for the Circle of Imaginistas playwriting group, “The Little King of Norwalk” is part of the company’s 40th season and explores the complexities of personal identity and community. Playwright Israel López Reyes, an adjuct professor at UCLA School of Theater, Film and Television, said he was inspired to write about his hometown of Norwalk, California, with an interest fixed on the city’s ban on homeless shelters and supportive housing in 2024. Directed by member of the Latino Theater Company and UCLA alumnus Geoffrey Rivas, “The Little King of Norwalk” weaves a cunning – and at times absurd – tale about the corrupt underbelly of municipal politics and the strength of community organization. Both Rivas and López Reyes said they regard “The Little King of Norwalk” and the success of the Circle of Imaginistas as testament to the Latino Theater Company’s ethos, which continues to burn bright 40 years later.

“The Little King of Norwalk should be shared … with the greater LA community because it’s a story that is really about us,” López Reyes said. “It’s a story where the universe revolves around a local person, a local family. It’s a story that has a lot of value and is ultimately a celebration of not just Norwalk but all of these little communities that make up LA county.”

The play follows a young man named Juan Perez, who promises his mother that he will protect his sister and his community. When offered an opportunity to elevate his status through dubious means, Juan struggles to balance his commitment to them with his own self-interest. López Reyes added that the political context of the play was inspired by a series of ordinances passed by the Norwalk City Council in 2024, which included bans on homeless shelters and other essential services such as laundromats, check-cashing services and car washes. López Reyes said these bans inspired him to modify the play from a simple tale of self-discovery to one of self-discovery during times of political strife.

“Every aspect of the play is very unique,” López Reyes said. “It’s a very special production that is physical. It’s very physical, it’s fluid and it requires a lot of exactitude and energy from everyone involved.”

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“The Little King of Norwalk” is also a comedy of errors, with Juan being mistaken by the Norwalk mayor and city council members as a state inspector. In this story of folly and farce, both López Reyes and Rivas stressed the importance of the production design in conveying the central message of metamorphosis and duality. Maureen Weiss, the scene designer, was able to bring the fast-paced vigor of the script to life with the set’s revolving doors. López Reyes also said Hsuan-Kuang Hsieh, the production’s projection designer, was able to highlight the characters’ interiority while also imbuing a sense of depth and reality into the scenes. Local publications such as The Downey Patriot and the Larchmont Buzz have praised the production design for its simple technique and formidable effect, enhancing not only the onstage performances but the story as well.

“We create a lot of magic with the little things that we have,” Rivas said.

Esperanza América – an actress in the production who plays Wendy Perez, Juan’s sister – said participating in the production touched upon her experiences attending TFT, which she graduated from in 2008. América said during her time at UCLA, a course on Chicano theater history was the only one in which she learned about her culture. She also learned that within the framework of American theater, Chicano plays are universal and although “The Little King of Norwalk” is anchored to a specific time and place, it will still resonate with a broad audience, América added.

“I’ve been fortunate enough to be a part of a family who raised me in the theater,” América said. “So I’ve always been taught that it’s our job to represent our people and represent them well and represent them authentically.”

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Rivas said the Latino Theater Company has developed a certain style, which they refer to as “Chicano Noir” – an artistic style of storytelling that has become synonymous with the company. In regard to “The Little King of Norwalk,” Rivas added that special emphasis was placed on the story’s magical-realistic narrative. Although introducing a new group of actors to the Chicano Noir style was difficult initially, Rivas said the hard work was worth it. Members of the Norwalk community have shown their support for the play, with Reyes adding that some members of the audience had never seen a play before but soon became repeat viewers. Reyes added that while attending a recent Norwalk City Council meeting, he spotted an activist dressed as Wendy Perez, citing “The Little King of Norwalk” as the inspiration behind her look.

“When you collectively work with a group of artists and create something that you wholeheartedly believe in and then you see how the audience responds,” Rivas said. “It really does put a nice, warm feeling in your heart.”