The Pilgrimage Plays

Chapter 5 brings together three very different plays. They are comedies in their respective stories, but if we look beyond the overt sexuality of “Canary in the Coal Mine,” the undoing of bisexual erasure in a modern family context (“Tu Amor Secreto”), and a story of migration from blue collar to white collar work (“ ¿A Que No Sabes Who’s Coming to Merienda? /What? Do You Not Know Who is Coming to Brunch?”). In each of the narratives, a moment of coming home exists that carries weight, risk, and memory. In the introduction, we were introduced to the idea that the plays move beyond the group’s critique of structure, but rather, they are a testament to movement. This chapter explores what it means to come home by leaving what is comfortable, pursuing the truth, and sharing history.