The original Camino Real, first produced on Broadway under Elia Kazan’s direction in 1953, took up the stories of several individuals grouped around Camino Real, pronounced real as in reallyreal in Target Margin’s brilliant production. Following an early version of the play, David Herskovitz chooses to focus on one: Kilroy, a former light-weight boxing champion, now an itinerant American who lands in the plaza of a patently violent Mexican town at fiesta time. His pesos are stolen fast, nor do we have much hope that he’ll hang on to the mementos of the past before he was a has-been, a champion’s belt around his waist and the golden gloves looped over his shoulders.
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