Contribution to Book
In 1990, Francisco Portes brought his Teatro Pequeño to the Chamizal in El Paso and gave the audience his usual high quality performance of Moreto' s El Iindo don Diego. Those who attended the performance or have seen it on videotape know that Portes' s portrayal of Diego was nothing less than magisterial. He minces, he scolds, he blusters, he fusses, completely obsessed with his appearance and his affect on others. Don Diego's entry scene established his character and the comic tone for the entire play. In it, Diego converses with a very straight-laced foil, Don Mendo, a much more typical galán. The more Diego says how his incredible physical beauty, enhanced by personal hygiene, clothing and other accoutrements, sends women into swoons, overcome by his masculine presence, the more Mendo, in both direct dialogue and asides, lets us know that he not only disbelieves Diego's claim to be a lady-killer, but he thinks that Diego is a mad, ridiculous, fool.
María José Delgado & Alain Saint-Saëns
University Press of the South
Stroud, M.D. (2000). Comedy, foppery, camp: Moreto's El lindo don Diego. In M.J. Delgado & A. Saint-Saëns (Ed.), Lesbianism and homosexuality in early modern Spain (pp. 177-197). New Orleans, LA: University Press of the South.
Lesbianism and Homosexuality in Early Modern Spain