The Brief

In mid-March, the cast and crew behind a new play about the life of labor leader Dolores Huerta and the rise of the farmworker movement were preparing for their debut.

Then, on March 18 — the last day of the production’s tech rehearsal — the New York Times published an investigation into United Farm Workers co-founder Cesar Chavez detailing allegations that he sexually abused and raped girls and women. Huerta wrote in a statement that Chavez had coerced her into sex on one occasion and forced her to have sex on another. She said she got pregnant each time and hid the pregnancies.

“Hearing the news and reading it, I was in absolute tears,” said director Sara Guerrero. “I didn't know what to expect.”

She wondered if the play, ¡Sí Se Puede!, would be pulled before it had a chance to begin.

“What would be the best way to continue to elevate this woman who endured a lot?” Guerrero said.

The answer Guerrero and the rest of the cast and crew landed on reflects a struggle for many since the allegations against Chavez were published. How do you square the gains of a movement that humanized and improved the lives of farmworkers — led by a man who inspired generations of activists — with the harm done by that same leader?

The origin of '¡Sí Se Puede!'

Today, Center Theatre Group is most known for the shows hosted at its flagship downtown L.A. theaters and in Culver City, but decades ago, the organization toured.

“We have to exist outside of the institutions, otherwise we’re not part of the global citizenship,” said Jesus Reyes, director of learning and community partnerships. “ There's so many young people and older people who have lost touch with art … So it's also our responsibility to put it out there.”

Director Sara Guerrero (left) and Playwright Eliana Pipes stand in front of the set for "¡Sí Se Puede!." Both have longstanding ties to L.A.'s theatre community.

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Carlin Stiehl

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Center Theatre Group commissioned an all-ages play about Huerta from writer Eliana Pipes in March 2025 to kickstart a pilot program that would bring shows to lesser-known regional venues.

Pipes devoured documentaries, books and conducted her own interviews with people connected to the farmworker movement.

“There's this perception that farm work was only done by men,” Pipes said. “But… there were women on the fields, there were women on the picket lines, and there were women in leadership in the United Farm Workers movement.”

A necessary pivot

On the day the New York Times' investigation published, Guerrero got together with Pipes and others from Center Theatre Group to discuss how to move forward.

“ What really stood out to us was that we had always intended to elevate the story and call to action of Dolores Huerta,” Guerrero said.

The United Farm Workers' grape boycotts depicted in the play are credited with helping the union win contracts with growers and eliminate the use of certain pesticides.

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Carlin Stiehl

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The decision: Chavez would remain a minor character — albeit with fewer lines. Pipes re-typed the play and drove to the final rehearsal at East Los Angeles College. She pulled over once to cry.

The cast performed a dress rehearsal for an audience of ELAC students.

“There were some tears, there was a lot of laughter and celebration, and I think it felt really healing for everybody to get to celebrate her, especially in this moment,” Pipes said.

El Teatro Campesino

¡Sí Se Puede! also highlights farmworker leaders like Larry Itliong, who’d organized Filipino farmworkers for years before Huerta and Chavez started working with Mexican laborers. Filipino farmworkers, historically less visible, started the 1965 Delano Grape Strike and Itliong later became a leader in United Farm Workers under Chavez.

The language of the play — English, Spanish and Tagalog — and the production design reflect the culture of the farmworker movement, incorporating a style of skits performed for farmworkers from the backs of flatbed trucks.

“El Teatro Campesino was not just entertainment, but it was also an organizing tool,” Pipes said. “The actos that they put on were meant to educate farm workers on the fields about their rights and incentivize them to join the strike.”

This El Teatro Campesino workbook belonged to Pipes’ grandmother who met Huerta through United Farm Workers meetings hosted at Santa Monica’s Unitarian Universalist Community Church.

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Carlin Stiehl

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LAist

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The style of El Teatro Campesino is big and theatrical. The politician character's devil mask is also a nod to the archetypes often found in the style's skits.

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Carlin Stiehl

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LAist

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Pipes was also tasked with translating the complexities of the farmworker movement into a narrative appropriate for all ages.

Sometimes that meant taking a few creative liberties with the character’s personal traits, like swapping Itliong’s trademark cigar for a lollipop.

More difficult was acknowledging the sometimes violent backlash the farmworkers faced. For example, a police attack on United Farm Worker demonstrators in San Francisco in 1988 left Huerta, then 58, with a ruptured spleen and fractured ribs.

“I think sometimes TYA — theater for young audiences — and for families has a reputation for being sort of toothless or apolitical,” Pipes said. “This piece does have something to say and it says it loud and proud. And even though it's in an age appropriate way, we never shy away from acknowledging the injustices that women face in the movement.”

“¡Sí Se Puede!" opens by asking the audience to think about the origin of their food before diving into the history of farm work in California. Juan De La Cruz plays several roles in the show, including a grape harvester.

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Carlin Stiehl

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LAist

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The "capitalist pig" is another archetype of El Teatro Campesino. Sol Joun plays the grower and several other roles in "¡Sí Se Puede!"

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Carlin Stiehl

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LAist

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In one scene, a TV broadcaster interviews Huerta and Chavez  at the terminus of the 1966 farmworker march from Delano to Sacramento.

“ I'm here at the State Capitol with Cesar Chavez and his secretary, Dolores Huerta — could you grab me a cup of coffee sweetheart?” the broadcaster asks.

When Huerta asserts herself as a co-founder of the union, the broadcaster calls her Chavez’s “sidekick.”

“It's so hard not to be heard,” Huerta’s character reflects after the interview ends. “Even in my own movement, some of the campesinos can't stand listening to women  and I try to pick my battles, but God, sometimes it feels like I'm battling a fight on two fronts.”

How audiences are reacting to the show

Center Theatre Group retains the right to produce the play in the greater Los Angeles area, but the play is available for anyone to produce elsewhere.

“ I would love to see it across the country, and particularly in places that have a long history with the farm workers movement, like Arizona, Texas,” Pipes said. “But I would love this play in every city, in every state.”

At the end of the show, the actors asked everyone in the audience to close their eyes and think about their personal answer to "What is the change you want to make in the world?"

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Carlin Stiehl

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The show’s initial 10-show run included libraries, recreation centers, schools and Boyle Heights City Hall.

The Toxqui family drove from Pomona and sat front and center for the April 2 show.

Mom Noelle said her great-grandfather worked in the orange groves.

 “It's something that's important to me and my own family history,” she said. “[I have] the desire for my kids to understand the fights that have happened before them and that will continue to happen.”

Izel Toxqui (center), 8,  said she felt inspired after watching the show. Her 4-year-old sister Ameli said she liked how Huerta helped people get food when they were hungry. “Ese parte me gusta que cuando ella estaba luchando por sus derechos,” she added, saying she liked that Huerta fought for their rights.

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Ruffy Landayan came to support friends in the cast, but left with a deeper understanding of the farm worker movement he “barely” learned about as a San Bernardino high school student.

“[The play is] about history, but it also felt very current because it is really current,” Landayan said. “That's when I realized the power of theater.”

The show also affirmed the experiences of people familiar with the movement.

Raul Cardona has worked with El Teatro Campesino since the 2000s and is a community organizer in East L.A.

“ There's a place for everyone in the revolution,” Cardona said. “If you don't belong to an organization, find one that you stand with and become part of it. The work needs to be done and it's not gonna do itself.”

Southern California was built on radio.

"I can still hear the jingle KFWB News 98,” wrote  Taline in Los Feliz, during a recent conversation on LAist's daily news show, AirTalk, which airs on 89.3 FM. “I grew up hearing that in my dad's minivan on the way to and from school. It has a special place in my heart.”

Back in April, broadcast company Audacy announced KNX News — one of the last-remaining all-news FM stations — was leaving the FM dial where it had simulcast on 97.1 FM since 2021. The station, which is also one of the oldest in L.A., is not budging from 1070 AM where it has been on the air for more than 100 years. The move away from FM officially happened in May to make way for a new sports talk station, which Audacy officials called an area of growth for advertisers in today’s media landscape.

The move is one in a long line of changes for radio and a reminder that before podcasts, playlists and algorithms, many Southern Californians built their days around radio broadcasts.

Radio, a daily ritual

The construction of KNX

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Herman J. Schultheis

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Los Angeles Public Library

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Michael Jackson, a well-known KNX, personality

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Los Angeles Public Library

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Larry Mantle, now in his 41st year hosting AirTalk, remembers being a kid and dreaming of what it might be like to be behind the mic at one of these radio stations.

“ I grew up with KNX," he said. “My dream job as a kid was to be an anchor on KNX or KFWB, the two local all-news radio stations, 'cause there was nothing like hosting AirTalk that even existed at that point.”

Mantle opened up the phone lines on a recent show to hear from his fellow SoCal radio lovers about the shows they miss and the memories they have. Here's what they had to say:

A love for radio, then and now  

A pilot of KMPC's traffic alert helicopter pictured with his daughter and grandson.

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Los Angeles Public Library

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A 1963 picture of Valley State College (now Los Angeles Valley College) preparing to launch KVCM

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Larry Leach

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Los Angeles Public Library

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“When you'd walk down Hollywood Boulevard where the station was, you could hear it playing as you went down the street,” said  Olivia in Glendale about KLAC 570 with Al Jarvis.

 Larry in Yorba Linda shouted out KBCA Jazz for its 24-hour jazz, saying “When I first moved out here in '68 from Phoenix, which had like an hour a week, it was a real wonder.”

 Mark in Glassell Park emailed that he loves KCRW’s Henry Rollins, writing, “I used to bristle at his unique DJ persona, but over time, I came to love him and his crazy eclectic playlists. I find his knowledge in history and punk rock fascinating. He's a gem and a legend."

"I'd like to give a shout-out to all the DJs working at KXLU, the college station at Loyola Marymount University, said  Jeremy in Culver City in an email. “That station's been on the air for nearly 60 years. I believe it's one of the best examples of what's possible with radio."

"KFWB and KRLA back in the day when they were rock music stations —  Dr. Demento, one of my favorite on-air personalities, also had eclectic music taste," said  Carrie in Desert Edge.

“ Dr. Demento was must listening when I was a kid in junior high school at Le Conte Junior High in Hollywood,” Mantle added. “Every Sunday night on KMET, we would make sure we were listening to Dr. Demento and his funny records.”

The question remains…

An 11-year-old winning a car in a KMPC contest in 1963.

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Listener support is vital to any radio station, and it’s clear KNX has many lifelong fans. AirTalk listeners highlighted their support for household KNX names over the decades like Bill Keene, Melinda Lee, Mike Roy and Jackie Olden.

As KNX makes changes, many are watching closely and thinking about the future of radio.

Listeners like Tommy in La Quinta are left wondering if the radio dial will be the same…

“I’m a hardcore listener, but I don't know about casual listeners [and] if they'll tune to AM,” he said.

After months of hand-wringing, Los Angeles and LA28 have come to a tentative agreement on how Olympics organizers will reimburse the city for its expenses for the 2028 Summer Games.

According to the deal, the private Olympic organizing committee will pay upfront for the estimated cost of services that are not eligible for federal reimbursement, like trash pick-up and traffic control. Under another proposal, the city would also be able to tap an LA28 contingency fund if it isn't fully repaid by the federal government for policing costs at Olympic venues.

The agreement is nearly nine months overdue and still needs approval by Mayor Karen Bass and the City Council.

The 2028 Olympics are intended to be privately financed, and an existing city agreement with LA28 states that the Olympics organizers, not L.A., will pay for extra costs for public services in support of the Games. But L.A. is the financial back-stop for the Olympics, meaning if LA28 goes in the red, taxpayers will pick up the bill.

Beyond that, the city services agreement presents another area where L.A. could incur additional unexpected expenses for hosting the Games. L.A. City Councilmember Monica Rodriguez warned LA28 CEO Reynold Hoover earlier this year that a bad deal could "bankrupt" the city.

Jacie Prieto Lopez, an LA28 spokesperson, and Paul Krekorian, who leads the city's office of major events, said in statements that the freshly inked agreement would help deliver a fiscally responsible Games.

"Mayor Bass’ priority is that the 2028 Olympic and Paralympic Games be fiscally responsible, protect taxpayers, and benefit Angelenos for decades to come. This agreement helps deliver that commitment," Krekorian said.

But the contract between the two parties doesn't fully resolve one of the biggest areas of financial risk for the city: the enormous cost of security for an event as extensive and high-profile as the summer Olympics and Paralympics.

Organizers are counting on the federal government to pay for public safety at Olympic venues that are considered part of a "national special security event." That includes costs for LAPD staffing. LA28 has not included security costs in its $7.1 billion budget — a fact that City Attorney Hydee Feldstein Soto criticized earlier this year.

The federal government has so far allocated $1 billion for security costs for the Olympics. Exactly where those federal funds will go has not yet been determined, and there's no guarantee they will cover all of L.A.'s policing costs.

To address this, city officials have also proposed an amendment to a 2021 agreement between the city and LA28. That amendment would establish that if L.A. is not reimbursed by the federal government for all its eligible expenses, it could dip into LA28's contingency fund of $270 million before the private organizing committee could use those funds for any legacy projects.

But that bucket of money will first be used for any costs that Olympics organizers still owe if they run out of revenue — meaning if the Olympics don't turn a profit, the city's access to that money will depend on how much is left for the taking.

Civil rights attorney Connie Rice, who has been tracking the city's negotiations with LA28, told LAist the agreement was a "PR document" not a deal. She pointed out that if the federal government does not pay up for security spending as expected, L.A. could be in trouble.

" It leaves the taxpayers with a GoFundMe strategy," she said.

The city services agreement lays the groundwork for more negotiations between LA28 and the city. Each venue will require its own agreement, to be negotiated by July 1, 2027. Venues in the city of L.A. include Dodger Stadium, the L.A. Convention Center, L.A. Memorial Coliseum and the Venice Beach Boardwalk.

The City Council's ad-hoc committee on the 2028 Games will meet Tuesday afternoon to vote on the agreement.