By Kristen Nevarez Schweizer

February 12, 2026

Cygnet Theatre meets this American moment with their San Diego musical premiere, Somewhere Over the Border from Brian Quijada. Inspired by The Wizard of Oz and refracted through a Latin American lens, this show reimagines Dorothy through the true story of a mother navigating migration, memory, and hope. Director Carlos Mendoza—given rare permission from the playwright to make the piece his own—reshapes the original narrator, collaborated on new music, and enhanced the material with what he repeatedly describes as beauty, class, and elegance.

Mendoza’s vision for a cinematic flow is expected to feel grounded and intimate, yet magical. Today, he and the creative team gave a behind-the-curtain pre-opening talkback, where they discussed building the world from scratch with joy as their compass. Musical director and conductor Lyndon Pugeda describes the music as a blend of cumbia, mariachi, American rock, and hip-hop, with clear nods to Lin-Manuel Miranda’s influence on contemporary musical theatre. Blake McCarty spoke about the power of using real photographs granted by the family, images that feel both personal and universally resonant, creating an entry point for audiences, whether or not the story mirrors their own. Janet Pitcher’s costumes gesture toward Oz without replicating it, capturing character through texture — such as adding a heart pin as a nod to both the Tin Man and familial loyalty. Lighting designer Ryan Fallis drew our attention to the unique opportunities within the set’s many windows, a promise to transport and delight. Even Jaeonnie Davis-Crawford’s props process is emblematic of the show’s ethos, with thrifted finds resourcefully solving one puzzle, one step at a time.

What struck me most during the behind-the-scenes conversations was Mendoza’s admission that the responsibility to shepherd a Latino immigration story keeps him up at night—thoughtfully considering every detail, down to the lobby’s step-and-repeat banner—because Latin visibility matters now more than ever. He hopes to honor a true Latin American immigrant experience while remaining accessible, light, and celebratory, in keeping with the show’s genre.

As a first-generation daughter of immigrants, that intention lands deeply for me. I’m grateful that the show’s tone is expected to be hopeful without being naïve, and heartfelt without pandering, because it arrives at a time when audiences are clearly hungry for that balance.

As part of the event, producing director Craig Campbell also unveiled the 2026–27 season, featuring choices that are both intellectually muscular and joyfully theatrical. The lineup begins with the philosophical elegance of Arcadia, with its entangled questions of time, love, and scientific truth, then moves to the emotionally charged immediacy of Dear Evan Hansen, a contemporary musical that continues to provoke conversation about connection, loneliness, and the stories we tell to survive.

The season also leans into intimacy and edge with Job, a new twisty, high-stakes psychological duel that promises taut tension, while One Man, Two Guvnors offers a welcome release valve—classic farce powered by physical comedy, theatrical bravado, and gleeful chaos. Rounding out the slate are John Proctor Is the Villain, a smash Broadway hit and a sharp, timely reexamination of The Crucible through a contemporary feminist lens. Artistic Director Sean Murray will be at the helm of Bat Boy: The Musical, the cult-favorite rock opera that gleefully blends camp, heart, and just enough darkness to keep audiences leaning forward in their seats.

Taken together, this show and their next season signal a company unafraid to oscillate between thoughtfulness and fun, prestige and playfulness. Mendoza repeated that theatre should be fun. It should feel like each artist adding their brushstrokes to something bigger than themselves. If Somewhere Over the Border is any indication, Cygnet will continue to be curious about the world, confident in its artists, and deeply invested in theatre that challenges, delights, and invites us all a little closer.

SOMEWHERE OVER THE BORDER
February 18 – March 15
Joseph Clayes III Theater

By Brian Quijada
Directed and Choreographed by Carlos Mendoza
Music Direction by Lyndon Pugeda

You can watch a recent interview with Carlos Mendoza here: