[4] After returning to Mexico from the U.S., he established the Midnight Theater and also became a member of the literary circle that formed around the journal Contemporary.
[6]: 307 His plays reflect a sense of the hypocrisies of life after the revolution, both criticizing society and offering models to emulate.
[2]: 3811 [6]: 308 He is perhaps best known for his 1938 play El gesticulador (The Imposter), which critiqued social issues ravaging Mexico, such as misuse of power that the bureaucracy had got from the Revolution of 1910.
Two of Usigli's protégées, Rosario Castellanos and Luisa Josefina Hernández, became important female voices on the Mexican stage.
The Archive's website describes it as "the definitive research collection relating to Usigli's life and career, including correspondence, both manuscript and typed drafts of original plays and translations of works by other artists, personal, theatrical, and diplomatic photographs, essays, books, playbills, posters, theses written about Usigli, awards, newspaper and magazine articles, memorabilia, and ephemera.