Programs
Four permanent lines of work, serving two constituencies at once: the audiences who attend and the artists who make each performance possible. Individual projects live inside them: a production, a festival edition, a season of concerts.
Temporadas · Mainstage Seasons
Our own productions, plus programming by companies we host in our venues. Two premieres a year, which is what the infrastructure allows, and performances nearly every weekend.
Who it serves: general audiences in Hermosillo, a city of about 900,000. What it addresses: audiences are built by continuity, not by isolated events. Without a permanent season, theatregoing never becomes a habit. Track record: 881 performances and 148 productions staged since the venue opened.
La Cachetona · The Mobile Stage
A trailer that folds open into a stage and carries theatre to places with no venue. It travels the state performing free of charge in town squares, community centers and schools.
Who it serves: rural communities and the urban periphery, with explicit priority given to areas of high social marginalization. What it addresses: Mexico's national statistics agency reports that 34.1% of people who do not attend theatre say there are simply no events where they live, or that they never hear about them. This is not indifference. It is absence of supply. Track record: touring the state every year since 2021.
Performances requested through our open call are free, with no fee of any kind. The host institution signs a letter of commitment. Political parties, religious organizations and for-profit entities are not eligible.
El Rola · Original Music
Concert seasons for emerging bands and songwriters in La Galería, our 35-seat room: a stage for the original music of the local scene. Original compositions only, no covers.
Who it serves: emerging songwriters and bands in Sonora. What it addresses: no stage in the city programs original work with any regularity. One gig does not build an audience. A season does. Each year: roughly 25 acts.
Festivales · Festivals
Festivals that bring to Sonora what would otherwise have to be sought elsewhere. DMT, an international performing arts festival. Península a Península, a national theatre showcase. Somos del Cerro, a free day of performance for the neighborhoods around us.
Who it serves: local audiences, and the national and international circuit. What it addresses: the isolation of a scene 2,000 kilometers from the country's cultural center. DMT's first edition: 1,500 attendees, with companies from Argentina, Spain, France, Italy and Mexico City, funded 70% from our own resources.
How each program is funded
| Program | Funded by |
|---|---|
| Mainstage Seasons | Ticket sales, public funding and Mexican tax incentives |
| La Cachetona | Philanthropy |
| El Rola | Philanthropy and sponsorship; admission is free by design |
| Festivals | Mixed, edition by edition |
The company has been awarded México en Escena — the Ministry of Culture's program for artistic groups — four times, and we say so with pride: it is a competitive, peer-reviewed award and an important part of how we are financed. It is still not enough. The scale of what the company and the venue do — the number of productions, activities and people we serve — requires several sources at once.
Asking every program to pay for itself through ticket sales is what would break the model. Some programs derive their social value precisely from not charging. Those are not a failure of the model. They are the part of the work that justifies being a nonprofit rather than a business.