u. s. influence

Julio Torres is always in search of the next challenge. The writer, comedian, actor and producer is adding the title of playwright to his ever-growing, multi-hyphenate list of occupations. Since his days as an Emmy-nominated writer for “Saturday Night Live,” Torres has written and starred in the Peabody Award-winning HBO Max original series “Los Espookys,” wrote and starred in the HBO Max original series “Fantasmas” and directed, wrote and starred in his first feature film, “Problemista,” co-starring Tilda Swinton.

For his latest venture, Torres made his way to the stage — admittedly not knowing exactly what goes on in the theater, but willing to take a shot with his first comedic play, “Color Theories.” In it, the audience gets a closer look at the eccentricities that frame his imaginative inner world.

As the son of a civil engineer and architect/fashion designer, Torres’ knack for world building comes as no surprise. In a recent feature for Architectural Digest, Torres opened the doors to his wonderland Brooklyn studio apartment, which contained escapist daydream corners and custom futuristic furniture made of glass, chromatic metals and mirrors, all cut and shaped into squiggles and sharp edges. With elements of retro-elegance and the ambiance of a playhouse, Torres’ vision is nostalgically absurdist and highly refined.

The same can be said about most of his work, including his vision for “Color Theories.” In order to bring his ever unpredictable vision to life, Torres teamed up with longtime scenic design collaborator Tommaso Ortino to create a fantastical surrealist stage for his live theatrical debut, which took place Sept. 3 at the Performance Space New York, located in downtown Manhattan.

Julio Torres performs in “Color Theories” at the Performance Space New York.

(Emilio Madrid)

Before Torres begins his performance, the audience is greeted by a giant book doused in bold, mostly primary colors, a grandfather clock with the numbers melted off its face à la Dalí and tall, blank scrolls. On top of the book lies a giant lipstick-stained wine glass, and an actor lying face down in a bubble-shaped, burgundy satin cloak — or, Drew Rollins playing the role of spilled wine. Rollins is accompanied by Nick Myers, who sits on the side of the stage dressed as a music box in silver foil and oversized pearls. They both play the roles of Torres’ stagehands and narrative helpers. Costumes were designed by Muriel Parra, best known for her work in “A Fantastic Woman” (2017), “Neruda” (2016) and “The Settlers” (2023).

Once the lights come down and the play begins, the whimsical characters crack open the giant book, revealing a stark contrast of blank pages. They proceed to open a flap where the comedian emerges, from the cushioned interior of his own creation. He begins by describing the abstract personalities of different letters of the alphabet, referring to them as staff with “wants, needs, hopes and dreams.” From there, he seamlessly transitions into the definition of the first color on the list: navy blue, which represents (American) bureaucracy, policing and control. Throughout the play, this “law and order” blue encroaches on the existence of every color selected by Torres.

Upon noticing that Torres is spending too much time discussing navy blue, his robotic buddy Bebo — also a recurring character in “Fantasmas” — pops out of the giant clock and serves as a colonel of time and color story order. (He also happens to be blue.)

What Torres dubs as “relaxed” green, “commercial-portrayals-of-joy” yellow, “lusty and ragey” red, “teenage” orange, “soft” beige and “mysterious” purple are all accompanied by playful examples of behaviors, objects and societal conditioning that represent each color. The operatic sound effects paired with each color were created by Lia Ouyang Rusli, who was tasked with the important role of not only composing the sounds for each color, but their respective emotions. Torres explained in a separate interview: “Green should also sound like we combined the sounds of yellow and blue, and so that’s fun.”

One of the most poignant moments of the play is during his green monologue, when Torres reminisces about the video store he grew up visiting in San Salvador. He unashamedly admits he never returned a movie on time, so the owner would bargain the late fee with him based on if the movie was requested during the days it was off the shelf or not.

“This was all working perfectly fine until Blockbuster came in and suddenly we were in a navy blue system,” he explains — with a nod to the U.S. influence on El Salvador, namely in the way American capitalism infringes on countries within reach of its empirical tentacles.

Immigration status is a recurring theme in much of Torres’ work. In his directorial debut, “Problemista,” Torres plays the protagonist Alejandro, who scrambles to find a work visa in 30 days after being fired from his job — and makes desperate attempts to earn quick cash in an effort to pay his legal fees. In “Color Theories,” Torres describes several run-ins with airport immigration authorities and the complications of traveling with a Salvadoran passport.

He recounts being turned away from entering Costa Rica because his passport was too wrinkled — and of being taken to an interrogation room for not knowing he needed a travel visa to enter the U.K. While detained, he noticed authorities had branded the interrogation area as a pseudo-mental wellness safe space — messaging that contradicted the reality of his experience.

Torres uses blue and red to exemplify his anti-capitalist stance by endearingly explaining how those with extreme wealth maneuver tax evasion, how governments allow and excuse war crimes, and how pervasive individualism prevents progress. “Color Theories” reaches its apex when Torres begins discussing the space between the shades black and white — neither representing good nor evil, but rather the known and the unknown.

Julio Torres’ new play “Color Theories” at Performance Space New York.

(Emilio Madrid)

It’s a beautiful way to take what have become very divisive points of view and create an atmosphere of shared humanity among the audience. From here, the colors that become the focal point are bright, airy mixes of pastels, which highlight the beauty in all of our differences and ranges of knowledge.

In just over an hour, Torres delivers a concise portrait of how he navigates and experiences the world in terms an elementary schoolchild can understand — which he jokes about by saying the play will be taken to schools across the U.S. His character development transitions from a justified frustration to the conclusion that humans behaving as though they know it all is the ultimate act of hubris.

“Color Theories” does not communicate as a pessimistic rant about the world but rather examines how government and institutions of power shape our society — and how that power complicates and often oppresses the everyday reality of the average person — by using humorous, universally relatable vantage points and lighthearted pop culture moments.

KUALA LUMPUR, Malaysia — The U.S. State Department is firing more than 1,300 employees on Friday in line with a dramatic reorganization plan from the Trump administration that critics say will damage America’s global leadership and efforts to counter threats abroad.

The department has begun sending layoff notices to 1,107 civil servants and 246 foreign service officers with assignments in the United States, according to a senior department official who spoke on the condition of anonymity to discuss personnel matters.

Staff began to receive notices shortly after 10 a.m. Friday saying their positions were being “abolished” and that they would be losing access to the department’s headquarters in Washington as well as their email and share drives by 5 p.m., according to a copy of one of the notices obtained by the Associated Press.

Foreign service officers affected will be placed immediately on administrative leave for 120 days, after which they will formally lose their jobs, according to a separate internal notice. For most civil servants, the separation period is 60 days, it said.

“Headcount reductions have been carefully tailored to affect non-core functions, duplicative or redundant offices,” the notice says.

While lauded by President Trump, Secretary of State Marco Rubio and their Republican allies as overdue and necessary to make the department leaner, more nimble and more efficient, the cuts have been roundly criticized by current and former diplomats who say they will weaken U.S. influence and the ability to counter existing and emerging threats abroad.

The layoffs are part of big changes to State Department work

The Trump administration has pushed to reshape American diplomacy and worked aggressively to shrink the size of the federal government, including mass dismissals driven by the White House’s Department of Government Efficiency and moves to dismantle whole departments like the U.S. Agency for International Development and the Education Department.

USAID, the six-decade-old foreign assistance agency, was absorbed into the State Department last week after the administration dramatically slashed foreign aid funding.

A recent ruling by the Supreme Court cleared the way for the layoffs to start, while lawsuits challenging the legality of the cuts continue to play out. The department had advised staffers Thursday that it would be sending layoff notices to some of them soon.

The job cuts are large but considerably less than many had feared. In a May letter notifying Congress about the reorganization, the department said it had just over 18,700 U.S.-based employees and was looking to reduce the workforce by 18% through layoffs and voluntary departures, including deferred resignation programs.

Rubio said officials took “a very deliberate step to reorganize the State Department to be more efficient and more focused.”

“It’s not a consequence of trying to get rid of people. But if you close the bureau, you don’t need those positions,” he told reporters Thursday during a visit to Kuala Lumpur, Malaysia. “Understand that some of these are positions that are being eliminated, not people.”

He said some of the cuts will be unfilled positions or those that are about to be vacant because an employee took an early retirement.

Critics say the changes will hurt U.S. standing abroad

The American Foreign Service Assn., the union that represents U.S. diplomats, said Friday that it opposed the Trump administration’s cuts during “a moment of great global instability.”

“In less than six months, the U.S. has shed at least 20 percent of its diplomatic workforce through shuttering of institutions and forced resignations,” the organization said in a statement. “Losing more diplomatic expertise at this critical global moment is a catastrophic blow to our national interests.”

If the administration had issues with excess staffing, “clear, institutional mechanisms” could have resolved it, the group said.

“Instead, these layoffs are untethered from merit or mission. They target diplomats not for how they’ve served or the skills they have, but for where they happen to be assigned. That is not reform,” AFSA said.

Former U.S. diplomats echoed that sentiment, saying the process is not in line with what Congress had approved or how it’s been done under previous administrations.

“They’re doing it without any consideration of the worth of the individual people who are being fired,” said Gordon Duguid, a 31-year veteran of the foreign service under Trump and Presidents George W. Bush and Barack Obama. “They’re not looking for people who have the expertise … they just want people who say, ‘OK, how high’ ” to jump.

He added, “That’s a recipe for disaster.”

In a notice Thursday, Michael Rigas, deputy secretary for management and resources, said that “once notifications have taken place, the Department will enter the final stage of its reorganization and focus its attention on delivering results-driven diplomacy.”

The State Department is undergoing a big reorganization

The department told Congress in May of an updated reorganization plan, proposing cuts to programs beyond what had been revealed a month earlier by Rubio and an 18% reduction of U.S.-based staff, higher than the 15% initially floated.

The State Department is planning to eliminate some divisions tasked with oversight of America’s two-decade involvement in Afghanistan, including an office focused on resettling Afghan nationals who worked alongside the U.S. military.

Jessica Bradley Rushing, who worked at the Office of the Coordinator for Afghan Relocation Efforts, known as CARE, said in an interview with AP that she was shocked when she received another dismissal notice Friday after she had already been put on administrative leave in March.

“I spent the entire morning getting updates from my former colleagues at CARE, who were watching this carnage take place within the office,” she said, adding that every person on her team received a notice. “I never even anticipated that I could be at risk for that because I’m already on administrative leave.”

The State Department noted that the reorganization will affect more than 300 bureaus and offices, saying it is eliminating divisions it describes as doing unclear or overlapping work. It says Rubio believes “effective modern diplomacy requires streamlining this bloated bureaucracy.”

That letter made clear that the reorganization is also intended to eliminate programs — particularly those related to refugees and immigration, as well as human rights and democracy promotion — that the Trump administration believes have become ideologically driven in a way that is incompatible with its priorities and policies.

Lee and Amiri write for the Associated Press. Lee reported from Kuala Lumpur, Malaysia, and Amiri from New York.

BEIJING — China will allow visa-free entry for nationals of five Latin American countries for one year to boost closer connections with the region.

Starting June 1, citizens of Brazil, Argentina, Chile, Peru and Uruguay will be allowed to enter China for up to 30 days without a visa, China’s Foreign Ministry announced Thursday. The trial program will be in effect for one year.

“We welcome more foreign friends to visit China, to experience the colorful and vibrant China,” Foreign Ministry spokesperson Lin Jian said at a daily briefing.

Beijing hosted the China-CELAC, or Community of Latin American and Caribbean States, Forum earlier this week, aiming at strengthening its alliances in the region as a counterweight to U.S. influence.

China has been opening up to dozens of countries including most of the European nations, Japan, South Korea, Singapore and Malaysia to boost the economy after strict pandemic travel measures. China and Uzbekistan will also begin mutual visa-free entry for up to 30 days starting June 1, according to China’s Ministry of Foreign Affairs.