Mexodus is described as “a two-person live-looped new musical.” Brian Quijada and Nygel D. Robinson have dramatized important ideas in a novel fashion.
The show begins when Nygel D. Robinson announces that all the sounds will be created live in real time. Quijada and Robinson work together to create a multi-layered soundtrack. The audience watches as they create an orchestra on stage. The entire stage is involved in the looping. Each song is built from scratch as they create loops of bass lines, beats, and melodies. The lyrics are sharp and biting. The influences range from Latin grooves, jazz, to hip hop.
Robinson challenges us by saying that “We don’t know this shit… the facts we never learned in history class.” What he is talking about is the Southern Underground Railroad. From 1829, when Mexico abolished slavery, until 1865, when the Thirteenth Amendment was enacted, up to 10,000 enslaved people made the journey from Texas to Mexico seeking freedom.
Mexodus recounts the experiences of two men deeply affected by imperialist, slave-owning America. Quijada and Robinson dive into the depths of their characters. Robinson portrays Henry, a slave torn from his mother in Kentucky and sent to labor in Texas. He flees to Mexico after killing his master in self-defense. Carlos is a Mexican soldier who fought to secure freedom. Quijada shows us a man who has lost everything – his family, comrades, and home. Carlos is now a tenant farmer fearful of an American invasion. Both characters are composites of stories based on research. The acting and songs make both men feel authentic. Their lives are parallel as they seek freedom. Their stories intertwine as does the music.
Mikhail Fiksel developed the looping systems and handled the sound design. He deserves a star billing for the strong, consistent showing. The scenic designer, Riw Rakkulchon, has created the ultimate set, reflecting the constant motion of the production. The lighting design is created by Mextly Couzin. Couzin is responsible for varying images ranging from delicate campfires to raging storms. These people work together to create effective illusions, such as the raging storm that brings Carlos and Henry together.
Mexodus is a dialogue between the past and present. Henry and Carlos achieve freedom when they work together. Brian Quijada tells a story about when he was a child in the Southside of Chicago. He points out that “We are told to separate, we are taught to stick to our own.” He is reinforcing how the modern world thrives on intentional division – the demonizing of “others.” The story of Carlos and Henry shows that liberation requires collaboration. But, as the final song reminds us, “. . . liberation in this nation is still being confronted/When Black and Brown bodies continue to be hunted/. . . America forgot she was supposed to welcome all.”
Nygel D. Robinson pointed out that Lin Manuel Miranda has said that “hip hop is the language of the revolution.” Mexodus utilizes hip hop as a medium to advocate for social change. Throughout American history, individuals and groups in positions of authority have retained their status through practices that include creating divisions among minority populations and limiting discussions about historical events. Mexodus is a groundbreaking musical about the southern underground. It recounts a forgotten time of incredible bravery as it urges unity between Black and Brown communities. Robinson asks, “What are you doing with the days your ancestors earned you?” The play demands an answer.
