David: So let's go ahead, and just remember, since you have these stylized movements at the beginning, it's really important that your transitions into them are part of the performance and that we're not seeing you mark them.
Liz: We have to keep the secret.
Tenemos que guardar el secreto.
Not just for you but for the family.
Para el bien de toda la famila.
We're illegal, but no one can know.
Somos ilegales, pero nadie puede enterarse.
Why should we be afraid?
We can't be afraid.
We have to change what their image of an immigrant is.
How can you have peace if you have no justice?
Undocumented, unafraid!
Undocumented, unashamed!
David: Any notes, maestro?
Dulé: When you say, "Undocumented, unafraid," are you unafraid?
Because it's one thing to be, "I'm not afraid."
It's another thing to know that "I am afraid, but I'm willing myself forward."
That's two different things.
Liz: Right... Dulé: Same words, two different things.
Are you encouraging yourself when you say, "Undocumented.
I'm unafraid.
Undocumented.
I'm unafraid.
Undocumented, I'm unafraid.
Undocumented."
And what is the final line you say?
Liz: I am home.
[Dulé taps stage] Dulé: I am home.
David: Mm-hmm.
Liz: Yeah.
Dulé: And let it sit.
"Because I'm telling you, I am home.
This is my home."
Dulé, voice-over: I feel that theater is a pillar of democracy, because it can't help but fire people up to be engaged in the process and engaged in the world around them.
The more you have that, the better our communities will be.
Liz: We're carrying lots of secrets.
Cargamos con muchos secretos.
Why should we be afraid?
We can't be afraid.
We have to change what their image of an immigrant is.
Liz, voice-over: Cara Mía plays such a big role in terms of my artistic journey.
I have learned it's most powerful when we are the ones who tell our own stories, when we're at the helm.
I am home.
♪