NEW YORK, NY — When a playwright from the Bronx and a director from Queens join forces, the result is often a theatrical explosion that captures the grit, humor, and rhythm of New York City. This June, the landscape of independent theater gets a jolt of high-octane energy with the production of LET MEZALUCA BUY YOUR CAR, an absurdist comedy-drama that proves sometimes the most profound truths are found in a pile of wreckage.

The production brings together two formidable forces in the indie scene: award-winning playwright Desi Moreno-Penson and director KM Jones. Following their successful collaboration on GENESISTER at the 2025 Estrogenius Festival, the duo is taking over the legendary La MaMa for a one-night-only event that promises to be as chaotic as a 5:00 PM jam on the BQE.

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The Playwright’s Perspective: Desi Moreno-Penson

For Moreno-Penson, a Latine playwright whose work has been developed at institutions like The Flea and Ensemble Studio Theatre, MEZALUCA is a deep dive into “internalized racism”—a topic she notes is rarely discussed because it lives inside the culture itself.

The Rhythm of the Bronx

“Absurdism is universal,” Moreno-Penson explains, “but the worldview I grew up with absolutely informs the rhythm.” Growing up in the Bronx, she was surrounded by the casual, oblivious observations that populate the play. She explores how marginalized communities often create their own pecking orders as a coping mechanism. “That self-inflicted harm wrapped in humor is very Latine, very Bronx, and very human.”

When a Car Finds its Voice

The play features a sentient “Car”—a character Moreno-Penson describes as Joey’s “nostalgia made flesh.”

• The Fantasy: The Car represents freedom from adulthood and the seductive lie of “faking it till you make it.”
• The Conflict: While Joey clings to a version of himself that peaked in high school (complete with early ’90s rap bravado), his partner Caterina sees the Car for what it is: a distraction from real life.

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The Director’s Vision: KM Jones

Directing an absurdist piece requires a specific “physics,” and KM Jones—a member of the League of Professional Theatre Women—approaches the challenge with a minimalist’s eye and a New Yorker’s ear.

Grounding the Surreal

How do you direct an actor playing an automobile? For Jones, it’s about cultural lineage. “The Car channels the energy of Jamaica, Queens in the late ’80s,” Jones says. “I’m grounding the actor in a specific physical vocabulary—weight in the hips, a wide stance, and a swagger that is both mechanical and hyper-masculine.”

A Masterclass in Momentum

With only one performance on June 3rd, Jones has designed a production that hits the ground running:

1. Visual Language: A completely bare stage at La MaMa. No clutter, no distractions.
2. Physicality: Lighting and sound will sculpt the world, while the actors—Jayson Kerr, Kathleen Guerrero, and Wilson Hernandez—will provide a “full-body workout” of running, jumping, and screaming.
3. Preparation: Actors were 90% off-book before day one, allowing the team to dive straight into character objectives and blocking.

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The Creators at a Glance

Feature	Desi Moreno-Penson (Playwright)	KM Jones (Director)
Roots	The Bronx	Jamaica, Queens
Style	Bold humor, “keeping it real”	Minimalist, visually driven, forward-momentum
Recent Win	Finalist, Jane Chambers Excellence Award	Associate Member, SDC; AEA
Philosophy	“No real comedy without real stakes.”	“Ground the absurd in recognizable NYC rhythms.”

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Why This Production Matters

LET MEZALUCA BUY YOUR CAR isn’t just about a bickering couple or a talking vehicle. It’s a study of two “non-white yuppies” navigating tech jobs and curated social circles while fighting the ghosts of their past. Through Moreno-Penson’s razor-sharp writing and Jones’s fearless staging, the production asks: When the world stops faking it, who are we underneath the swagger?

As Moreno-Penson puts it: “When did theatre stop being risky and fun?” On June 3rd at La MaMa, it seems the risk—and the fun—are back in full gear.

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“Live your life authentically with no regrets.” — A guiding theme for the collaboration between Moreno-Penson and Jones.