Abstract
The figure of Malintzín Tenépal, translator and mistress to Hernán Cortés and legendary mother of the mestizo people, has been a focus for such celebrated Mexican writers as Octavio Paz and Carlos Fuentes, and more recently for revisionist work by Chicana scholars and cultural workers intent on rescuing this much maligned foremother from the distortions of patriarchal history. Nor the Cavaliers Who Come with Us, the first production by the exciting new ensemble company One Reed Theatre, enters into dialogue with these revisionist projects, restoring the woman the Spanish conquistadors called Doña Marina to a central place as active agent in the downfall of the Aztec empire.
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