This process has been a revelation in more ways than I can describe. Searching for a project that enveloped my love of Spanish with my unwavering attraction to theater, I looked first to the plays of the Spanish playwright Federico GarcÌa Lorca. I stumbled upon the once-lost translation of Lorca's "Blood Wedding" by none other than Langston Hughes, my longtime idol of Black history. This piece interlaces the reality of the writers in a sequence of known events in their lives alongside a montage of dreams and nightmares as they struggle through that never-ending quest of self. Hughes was able to take minor liberties with Lorca's work to do what I learned so thoroughly this semester in the Spanish translation course led by professor Esther Allen-- to capture the spirit of the piece and the soul of the author, not to confine oneself to the language alone. With my junior adviser Professor Antonio Calvo, I had the remarkable opportunity to work with a man who spent much of his career not only researching but consuming their lives and the rhythms of the oppressed Hughes and Lorca immortalized in their work-- the cante jondo of the Spanish gypsies and the Blues and jazz of the American Blacks. That is when I knew the beat was calling me. Watching this work take a shape of its own in my 19 fabulous actors, it has taken on a voice I never thought possible. I want my audience to leave with a glimpse into the writerís mind, mysterious and chaotic, and a greater appreciation of the personal story in the work they leave behind. I ask, encourage and entreat them to listen to the message behind the music not just the melody of the poetry, essays and plays that enchant us. The beat is sweet, but the story is timeless.