At the turn of the century, Mexican theater companies were operating throughout northwestern Mexico and the southwestern U.S. The demand for plays written by Mexican writers steadily increased during the first few decades of the twentieth century and by 1923 Los Angeles had become the epicenter of the Mexican play-writing community. The demand was higher for comedies; however, there was still a great clamor for more serious dramas.

Brígido Caro was born in Alamos, Sonora and led a politically active life. Caro was often forced to move; first to Zacatecas, then Guadalajara, and finally the U.S., where he settled in Arizona and later Los Angeles. A journalist for the newspaper El Sonorense, Caro supported the Díaz regime and attacked Madero and foreigners. Following the collapse of the Díaz government, he was dragged from his home and sent to the U.S. border. Granted amnesty, Caro returned to Sonora where he continued to publish anti-Madero tabloids until he was expelled again in 1914. Following his arrival in Los Angeles, Caro joined the staff of El Heraldo de México, wrote a number of plays about the social and political situation in Mexico during the decades-long violence of the Revolution. In 1924, Caro also authored a biography of Plutarco Calles, in which he declared that Calles was a Bolshevik Communist and labeled him dictator of Mexico. Caro and others never shied away from the controversial in their plays, including the historical situation of Mexicans in California and the Revolution. Caro and his contemporaries often joined with local theater troops and performed at theaters like the Teatro Hidalgo or the Teatro México, which became known as the protector of Hispanic culture. The Library of Congress holds four of Caro’s plays in the Manuscripts Division, two of which deal directly with the Revolution and the nationalistic sentiments it generated.

“Patria y Bandera,” or “Homeland and Flag” (1923), was written to express nationalism and denounce the violence of the Revolution. Three of the main characters in the play are named for the colors of the Mexican flag: Color Verde (Green), Color Blanco (White), and Color Rojo (Red). Color Blanco is the strongest voice for Mexico and its peaceful citizens. A further character in “Patria y Bandera,” La Patria (The Homeland) also displays considerable nationalistic sentiments. The play closes with a performance of the Mexican National Anthem. Caro’s first play addressing the Revolution opened to great acclaim on 5 May 1923, at the Teatro México in Los Angeles, California.

“Joaquín Murrieta” (1926) looks at identity and the Revolution. On 25 August 1926, Caro’s play lost a competition held by the management at the Teatro Hidalgo to fellow playwright Adalberto Elías González. However, by the end of the season “Joaquín Murrieta” had become a surprise hit and the Hidalgo hosted many repeat performances. The prologue introduces two brothers: Carlos and Joaquín Murrieta. The brothers are Mexicans in California mining for gold when Constable Leary explains that since the brothers are Mexican, an inferior race, they will not be allowed to take advantage of the natural resources the U.S. has to offer. Unfortunately, Carlos and his wife are murdered leaving Joaquín on the run as a bandit. He falls in love with Clara, but the woman who loves him, Mariquita, informs on Joaquín out of spite. Upon finding him, the U.S. army fights and kills Joaquín, who warns those who fought in the Revolution that those who live in violence die in violence.