The U.S. Embassy in Mexico on Sunday urged Americans in the resort city of Puerto Vallarta to shelter in place after Mexican authorities killed a powerful cartel leader.

The Washington Post reported Mexican soldiers on Sunday killed Nemesio Rubén Oseguera Cervantes, the head of the Jalisco New Generation Cartel known as “El Mencho,” in Tapalpa, a town south of Guadalajara, the capital of Mexico’s Jalisco state.

Puerto Vallarta is in Jalisco, but is roughly five hours away from Tapalpa.

Local media reports indicate cartel members in response to Oseguera’s killing have set fire to cars and buses in Puerto Vallarta and elsewhere in Jalisco. The U.S. Embassy’s shelter in place directive also includes Tamaulipas state and parts of Michoacán, Guerrero, and Nuevo León states.

“Due to ongoing security operations in multiple states and related road blockages and criminal activity, U.S. citizens should shelter in place in the named locations until further notice,” reads the advisory.

The Washington Blade will provide additional details when they become available.

‘The House of Bernarda Alba’
Through March 1
GALA Hispanic Theatre
3333 14th St., N.W.
$27-$52
Galatheatre.org

In Federico García Lorca’s “The House of Bernarda Alba,” now at GALA Hispanic Theatre in Columbia Heights, an impossibly oppressive domestic situation serves, in short, as an allegory for the repressive, patriarchal, and fascist atmosphere of 1930s Spain

The gay playwright completed his final and arguably best work in 1936, just months before he was executed by a right-wing firing squad. “Bernarda Alba” is set in the same year, sometime during a hot summer in rural Andalusia, the heart of “España profunda” (the deep Spain), where traditions are deeply rooted and mores seldom challenged. 

At Bernarda’s house, the atmosphere, already stifling, is about to get worse.

On the day of her second husband’s funeral, Bernarda Alba (superbly played by Luz Nicolás), a sixtyish woman accustomed to calling the shots, gathers her five unmarried daughters (ages ranging from 20 to 39) and matter-of-factly explain what’s to happen next.  

She says, “Through the eight years of mourning not a breeze shall enter this house. Consider the doors and windows as sealed with bricks. That’s how it was in my father’s house and my grandfather’s. Meanwhile, you can embroider your trousseaux.”

It’s not an altogether sunny plan. While Angustias (María del Mar Rodríguez), Bernarda’s daughter from her first marriage and heiress to a fortune, is betrothed to a much younger catch, Pepe el Romano, who never appears on stage, the remaining four stand little chance of finding suitable matches. Not only are they dowry-less, but no men, eligible or otherwise, are admitted into their mother’s house.  

Lorca is a literary hero known for his mastery of both lyrical poetry and visceral drama; still, “Bernarda Alba’s” plotline might suit a telenovela. Despotic mother heads a house of adult daughters. Said daughters are churning with passions and jealousies. When sneaky Martirio (Giselle Gonzáles) steals the photo of Angustias’s fiancé all heck kicks off. Lots of infighting and high drama ensue. There’s even a batty grandmother (Alicia Kaplan) in the wings for bleak comic relief.  

At GALA, the modern classic is lovingly staged by José Zayas. The New York-based out director has assembled a committed cast and creative team who’ve manifested an extraordinarily timely 90-minute production performed in Spanish with English subtitles easily ready seen on multiple screens.

In Lorca’s stage directions, he describes the set as an inner room in Bernarda’s house; it’s bright white with thick walls. At GALA, scenic designer Grisele Gonzáles continues the one-color theme with bright red walls and floor and closed doors. There are no props. 

In the airless room, women sit on straight back chairs sewing. They think of men, still. Two are fixated on their oldest siter’s hunky betrothed. Only Magdelena (Anna Malavé), the one sister who truly mourns their dead father, has given up on marriage entirely. 

The severity of the place is alleviated by men’s distant voices, Koki Lortkipanidze’s original music, movement (stir crazy sisters scratching walls), and even a precisely executed beatdown choreographed by Lorraine Ressegger-Slone.

In a short yet telling scene, Bernarda’s youngest daughter Adela (María Coral) proves she will serve as the rebellion to Bernarda’s dictatorship. Reluctant to mourn, Adela admires her reflection. She has traded her black togs for a seafoam green party dress. It’s a dreamily lit moment (compliments of lighting designer Hailey Laroe.)  

But there’s no mistaking who’s in charge. Dressed in unflattering widow weeds, her face locked in a disapproving sneer, Bernarda rules with an iron fist; and despite ramrod posture, she uses a cane (though mostly as a weapon during one of her frequent rages.) 

Bernarda’s countenance softens only when sharing a bit of gossip with Poncia, her longtime servant convincingly played by Evelyn Rosario Vega.

Nicolás has appeared in “Bernarda Alba” before, first as daughter Martirio in Madrid, and recently as the mother in an English language production at Carnegie Melon University in Pittsburgh. And now in D.C. where her Bernarda is dictatorial, prone to violence, and scarily pro-patriarchy. 

Words and phrases echo throughout Lorca’s play, all likely to signal a tightening oppression: “mourning,” “my house,” “honor,” and finally “silence.”

As a queer artist sympathetic to left wing causes, Lorca knew of what he wrote. He understood the provinces, the dangers of tyranny, and the dimming of democracy. Early in Spain’s Civil War, Lorca was dragged to the the woods and murdered by Franco’s thugs. Presumably buried in a mass grave, his remains have never been found.

The D.C. metropolitan area’s housing market remains both pricey and complex. Buyers and sellers are navigating not only high costs and shifting buyer preferences, but also seasonal weather conditions that influence construction, inventory, showings, and marketing time. 

Seasonality has long affected the housing market across the U.S. Activity typically peaks in spring and summer and dips in winter; however, January and February 2026 brought unusually cold spells to our area, with extended freezing conditions.

Persistent snow and ice-covered roads and sidewalks have gone for days, and in some cases weeks, before melting. While snow accumulation normally averages only a few inches this time of year, this winter saw below-normal temperatures and lingering snow cover that has significantly disrupted normal activity. 

Rather than relying on neighborhood teenagers to shovel snow to make some extra money, the “snowcrete” has required ice picks, Bobcats, and snow removal professionals to clear streets and alleys, free our cars from their parking spaces, and restore availability of mass transit. 

These winter conditions have had an adverse impact on the regional housing market in several ways.

• Construction slowdown: New builds and exterior improvements often pause during extended cold, resulting in delayed housing starts when we need affordable housing in the worst way.
• Listing preparation: Cleaning crews, sign installers, photographers, and stagers with trucks full of furniture may be unable to navigate roads and need to postpone service. 
• Showings and open houses: Simply put, buyers are less inclined to schedule visits in hazardous conditions. Sellers must ensure walkways and parking areas are clear and de-iced and be able to vacate the property while viewings are taking place.
• Inspection and appraisal delays: Like buyers and sellers, ancillary professionals may be delayed by unfavorable weather, slowing timelines from contract to close.
• Maintenance and repairs: Properties with winter damage (e.g., ice dams or frozen pipes) may experience repair delays due to contractor availability and supply chain schedules. Snow and cold can also affect properties with older and more delicate systems adversely, leading some sellers to delay listing until better conditions arrive. 
• Availability of labor: Increasingly, construction, landscaping, and domestic workers are reluctant to come into the District, not because of ice, but because of ICE.

Overall, the District has shown a notable increase in days on the market compared with past years. Homes that once sold in a week or less are now often listed for 30+ days before obtaining an offer, especially in the condominium and mid-range house segments. While part of this shift can be attributed to weather and climate, interest rates, uncertain employment, temporary furloughs, and general economic conditions play key roles. 

Nonetheless, we continue to host some of the region’s most expensive residences. Historic estates, including a Georgetown mansion that sold for around $28 million, anchor the luxury segment and reflect ongoing demand for premium urban property.

But even in this high-end housing sector, marketing strategies are evolving based on seasonal realities. Price reductions on unique or niche properties, such as undersized or unconventional homes, reflect a broader market adjustment where competitive pricing can shorten selling time.

For example, a beautifully renovated, 4-story brick home with garage parking and multiple decks that overlook the Georgetown waterfront sold in early February for 90 percent of the list price after 50 days on the market.

At the other end of the spectrum, a 2-bedroom investor-special rowhouse in Anacostia only took eight days to sell for under $200,000, down 14 percent from its original list price. In addition, four D.C. homes took more than 250 days to sell, including an 8-bedroom rooming house that was on the market for 688 days and closed after a 23 percent downward price adjustment.

Some frustrated sellers are simply taking their homes off the market rather than dropping prices below their mortgage balances, although we are beginning to see the resurgence of short sales for those who must sell.

Condominiums and cooperatives offer many opportunities for buyers and investors, with 1,100 of them currently on the market in D.C. alone. List prices run the gamut from $55,000 for a studio along the Southwest Waterfront to nearly $5 million for five bedrooms, four full baths, and 4,400 square feet at the Watergate. 

So, while Washington metro area prices remain high, the pace of sales now reflects both seasonal and economic realities. Homes taking longer to sell, in part caused by elements of winter, signal a shifting market where buyers can take more time to decide which home to choose and have a better negotiating posture than in recent years. 

Accordingly, sellers must continue to price strategically, primp and polish their homes, and prepare for additional adverse circumstances by reviewing fluctuating market conditions with their REALTOR® of choice.

Valerie M. Blake is a licensed Associate Broker in DC, MD & VA with RLAH @properties. Call or text her at (202) 246-8602, email her at [email protected] or follow her on Facebook at TheRealst8ofAffairs.