Literally translated, the word “bocón” means “big mouth” in Spanish, but the local community arts organization of the same name chooses to use it a little differently.
“While it traditionally carries a negative connotation, we chose it intentionally to reclaim and redefine what it means to have a big voice and loudmouth. At Bocón, being a ‘big mouth’ means having the courage to speak up, to tell our community’s stories before someone else does, and to ensure that those stories are heard loud and clear,” says Crystal Mercado Rosure, founder and artistic director of Bocón. “This mission is the foundation of everything we do. Outside of school hours, we continue to create original work with our youth ensembles, we provide free global arts summer camps, and offer after-school arts enrichment programs.”
The organization, which officially began in 2010 as a free youth theater program in National City for fourth- through sixth-graders, has grown into providing arts education workshops to more than 5,000 students in kindergarten through 12th grade in San Diego’s most underserved areas. Mercado Rosure, who has degrees in children’s theater from San Diego State University and in theater for youth from Arizona State University, produces and develops plays by artists of color and those of marginalized genders. She’s taught in classroom spaces in San Diego County (including year-long cultural arts residencies at Balboa Elementary for the past nine years), Arizona, and Japan, and her goal is for San Diego to think of Bocón as “San Diego’s theater for youth, particularly in the southern communities” of the county, publishing and commissioning works that address social justice issues that include racism, youth empowerment, grief, and loss.
Mercado Rosure, 41, lives in San Diego’s Jamacha/Lomita neighborhood with her husband, Jordan, and their son, and his son and daughter from a previous relationship. She took some time to talk about her work with Bocón and her drive to provide theater arts and storytelling to kids in ways that allow them to see themselves and feel empowered to tell their own stories.
Q: Why was Bocón something you wanted to start?
A: I created Bocón because I saw a glaring need in San Diego for theater that not only serves the whole family, but also truly represents the rich diversity of our communities. Growing up, I had a deep love for storytelling, but like many local families, mine couldn’t afford the programs that were available. The arts often felt like a luxury, something only accessible to those with the means to pay for classes, costumes, and production fees. I know firsthand what it’s like to yearn for a creative outlet and to feel that financial barriers are insurmountable. That experience stayed with me and, as I got older, it fueled a desire to make sure that other children didn’t have to miss out on the transformative power of the arts just because of their economic situation.
It wasn’t just about making theater accessible; it was about making it meaningful. I wanted to create a space where young people could see themselves reflected on stage, where their stories, cultures, and voices were not just included, but celebrated. Bocón was born out of this desire to ensure that all children, regardless of their background or financial situation, have the opportunity to explore the arts, to find their voice, and to share their stories with the world.
Theater has a unique ability to build empathy, to bring people together, and to spark dialogue around important issues. By creating Bocón, I wanted to give young people the tools to tell their own stories and to use theater as a means of social change. Our programs are designed to not only entertain, but to challenge and inspire both our participants and our audiences. I believe that when young people are given the opportunity to express themselves through art, they gain a sense of agency and self-worth that extends far beyond the stage.
Ultimately, I wanted to create something that would have a lasting impact on the community-a place where everyone, especially those who might not otherwise have the chance, could experience the joy, the challenge, and the beauty of theater. Bocón is my way of giving back, of ensuring that the next generation has the opportunities that I wished for as a child, and of contributing to a more inclusive and vibrant cultural landscape in San Diego.
What I love about San Diego’s Jamacha/Lomita neighborhood…
The convenience and sense of community it offers. I’m within walking distance of two parks, which are perfect for taking my toddler and dog to run around and play. On Tuesdays, one of the parks comes alive with a local group that plays classic R&B jams while they skate on the basketball court, creating a lively atmosphere that makes for a great soundtrack as the kids play—though my little one often wants to in on the skating! These green spaces provide a daily escape where we can enjoy nature, unwind, and soak in the vibrant community energy.
Q: Can you talk a bit about your introduction to theater?
A: I was a shy but creative child, naturally drawn to storytelling and performing, though I only felt comfortable sharing that side of myself within the safety of my home. My real introduction to theater came in high school when I ed a drama class out of curiosity (and because my older brother was in it). It was there that I discovered the power of theater to move people, tell stories, and teach empathy. Although I quickly realized that my talents might not lie on the stage itself, my love for theater only grew stronger as I saw how it could connect people and convey profound truths.
Q: What was it about this form of creative expression that appealed to you?
A: Theater appealed to me because it has the unique ability to take audiences on a journey, whether it’s introducing them to new ideas or validating their own experiences by seeing their stories told on stage. It’s a form of expression that allows us to dive into the humanity of its subjects, allowing us to see the world through the eyes of the characters, and foster empathy in a way that few other media can.
Q: You have a bachelor’s degree in children’s theater and a master’s in theater for youth. What is it about theater for young people that you were drawn to studying and pursuing professionally?
A: I was drawn to theater for young people because, growing up, I often felt that children were expected to be seen but not heard, living in a world dictated by adults, with little agency, even though they experience the same complex emotions as adults, often for the first time. Theater offers a way for children to feel seen and heard, serving as both a guide and a source of validation. What particularly captivates me is the sense of magic, wonder, and play that is central to theater for youth, something that often gets lost in adult theater. This magic helps children navigate their world and it also rekindles that sense of curiosity in adults, allowing them to rediscover the wonder within. I hope our theater not only empowers children, but also brings joy to families who experience it together.
Q: Can you talk about the ways that your approach to children’s theater is different from the kind of content we see for adults, in of what you’re focused on with that audience and what the priorities are in creating programming for kids?
A: The main difference in my approach to children’s theater is that our stories are told primarily from the perspective of the child, focusing on the challenges they face. It’s crucial that our plays are hopeful, as young people have their whole lives ahead of them and that sense of hope is essential. However, we don’t shy away from difficult topics because children experience a wide range of emotions and challenges and they deserve to see these realities reflected on stage. Our goal is to create programming that is both honest and uplifting, giving young audiences the tools to navigate their world while ensuring they feel seen and understood.
Q: What does it mean, exactly, to teach “theatre for social change”? What does this look like for you, in practice?
A: Teaching theater for social change means empowering students and participants to use the stage as a platform to address and challenge societal issues, transforming theater into a space for critical dialogue and potential activism. It starts with an exploration of the work of key practitioners-like Augusto Boal, who developed the Theatre of the Oppressed, and Bertolt Brecht, known for his Epic Theatre-who used theater to provoke thought and inspire social action. We study their methods and philosophies, such as Boal’s forum theater, where the audience becomes “spect-actors” who can intervene in the narrative to change its course.
In practice, this approach involves taking these theories and applying them to the real-world issues our students and community face. One powerful example is our production of “Safa’s Story” by Catherine Hanna Schrock, a forum theater piece centered around a young girl dealing with racism in her new school. The performance is intentionally paused at key moments of conflict and the audience is invited to step into the roles of the characters to explore different ways to alter the outcome. This interactive process allows participants to “practice” responses to oppression, experimenting with words and actions that could make a difference in similar real-life situations.
Q: Why is it important to you to focus on social change in this format?
A: Focusing on social change through theater is important to me because storytelling has a unique power to change minds and hearts. It allows audiences to resonate deeply with characters who may be different from themselves, fostering empathy and understanding in a society that feels increasingly divisive. Theater can bridge gaps by helping people see the humanity in others, which ultimately makes the world a better place. Moreover, when stories reflect our own cultures and experiences, they provide a sense of validation and visibility, empowering our community. While social change can take many forms, storytelling is particularly subversive, reaching people on an emotional level in a way that few other art forms can
Q: What kinds of changes have you witnessed in the young people you’ve worked with after they’ve been able to experience storytelling and personal narrative through your program?
A: Through our educational programs, including in-school residencies, after-school ensembles, and summer camps, we’ve seen remarkable transformations in the young people we work with. Parents and teachers often share how their children have blossomed, becoming more confident and self-assured. One of the greatest compliments we receive is when a parent tells us that their child has learned to accept and love themselves through our program. We’ve witnessed children who once had severe stage fright experience genuine joy on stage, finding a new sense of empowerment in expressing their stories. Many of our students return year after year, and we see significant growth in their confidence and artistic abilities, reflecting the lasting impact of our programs on their personal development
Q: What’s next for Bocón’s 2024-2025 season?
A: For Bocón’s 2024-2025 season, we’re thrilled to present two new shows that highlight Filipino stories, showcasing our commitment to diverse and culturally rich narratives. The first is our play development workshop for “Babble” by Mara Palma, part of a nationwide initiative led by award-winning playwright Jose Casas. This project involves over 20 theaters across the U.S., commissioning playwrights of color to create superhero plays for youth, workshop them, and ultimately produce them. From Nov. 11 to 16, we’ll be workshopping “Babble,” culminating in a script reading, with a full production slated for 2025. This play follows a young Filipina who, after her grandfather’s death, discovers a mysterious link to a secret society of language mystics. Her ability to decode languages leads her on a journey to uncover whether this gift is her true superpower or if it holds a deeper, more profound purpose, as she explores the legacy her grandfather left behind.
Additionally, we’ll be producing “Hip Hop Don’t Stop” by Wind Woods, a play we developed last year. This powerful story centers on a father who reconnects with his hip hop roots to become the best father he can be for his children. Both of these productions exemplify our mission to tell stories that resonate deeply with our community. Be sure to follow us on Instagram and Facebook for the latest updates on specific dates and locations!
Q: Where do you like to go, locally, for theater performances?
A: With a young child at home, I don’t get out to watch theater as often as I’d like, but when I do, it’s usually to a fellow artist friend. I’ve been particularly excited about the experimental work coming out of Camino 23, a blossoming group dedicated to fostering the next generation of Latine artists. Their innovative approach is inspiring and refreshing. The last musical I watched was TuYo Theatre’s “Pásale Pásale,” which had me dancing and laughing the whole time. Even my 2-year-old couldn’t wait to get back to his seat after a potty break, excitedly saying, “baila, baila!” It’s moments like these that remind me of the joy and energy live theater provides.
Q: What is the best advice you’ve ever received?
A: On a personal and artistic level, RuPaul is my guru—his wisdom has been invaluable, from loving yourself and embracing your drag persona as your superpower, to practical advice like paying your taxes. However, on a purely professional level, one of the best pieces of advice I’ve received came from my close colleague Jenn Oliver, who taught me the importance of creating a smart budget and always including a percentage for the organization.
Q: What is one thing people would be surprised to find out about you?
A: An interesting fact is that my husband and I lived in Japan for three years, and my son was born there, thanks to the magic and science of IVF. The journey to becoming a parent was one of the most heartbreaking and rewarding experiences of my life. Japan offered us an affordable path to parenthood that I’m incredibly grateful for, as I wouldn’t be a mom today without that experience. As an empowered woman who’s used to working hard to achieve my dreams, I was deeply humbled by our struggle to conceive naturally. This experience opened my heart to anyone going through similar challenges, and it has made me ionate about speaking openly on the topic so that others don’t feel so alone in their journey. The gratitude I feel for being able to be a mom now is immense, and I wish conversations around fertility and IVF were more common, as it’s a path that so many silently walk.
Q: Please describe your ideal San Diego weekend.
A: My ideal San Diego weekend is a perfect blend of family fun and relaxation, especially when I have visitors. We can take the opportunity to play tourists and enjoy a bit of a staycation—with kids in tow, the San Diego Zoo and the beach are absolute musts, particularly in the summer. Another favorite spot is The New Children’s Museum, which is not only fun but also sparks creativity in kids. The park right across the street from the museum is perfect for a quick play session afterward.
