This tourist oriented play re-enacts the history of coffee, a product of the utmost importance for Costa Rican economy. This was the first play of its kind in Costa Rica and in 1995 received the award for Tourism Excellence by American Sightseeing International. His auto sacramental La entrada de Jesús en Jerusalén (The entry of Jesus into Jerusalem) was represented in the streets of Alajuela in 1995. In 1997 Arroyo writes the huge open air spectacles Albores (Dawnings) and Leyendas (Legends), both dealing with Costa Rican traditions and history. These works would originate one of his most lavish and important works, the monumental play La tertulia de los espantos (The Soiree of Spooks). As it prologue reads, this play takes us “from the legend and myths of the creation of the world to the postmodern fragmentation of the spectacle” . This text re-elaborates what Arroyo did in his first years and presents it with the style and showmanship of contemporary theatre. This piece is considered the first Central American postmodern play. His further work shifts again to more personal and lyrical theatre, as in the contemporary piece El surco entre la flor y el labio (The Groove between the Flower and the Lip) (1997) that deals with the crisis of the female role in society of a mother and a daughter. From that same year is also Azul Marlene (Marlene Blue). Set in a Nazi prison at the end of World War II, Arroyo confronts us with the harsh reality of a homosexual prisoner of that time. This is considered the first piece of gay theatre in Costa Rica, and probably in the Central American region. 2000s In 2002 his comedy Trio was mounted in Panama with huge success among audiences and critics alike. With this play Arroyo shows us again his enormous ability to manage different styles and genres, presenting us a comedy on a practically bare staged where three best friends, a woman a two men, take us through a roller coaster ride of emotions swiftly jumping from the past to the present. In that same year he presented the reading of Valentino, la soledad del halcón (Valentino, the Falcon’s Loneliness), the author's personal take on the life of the immortal Rodolfo Valentino. His most recent and mature works develop historical theatrelike in La patria primera (Prime Country) (2002), about the Costa Rican Independence, and Figueroa Notario de