What is your hometown?
I was born in the mountains of Corozal, Puerto Rico, surrounded by Yagrumo trees, flowers of all colors and a creek that encircled my family land. I was received into this world by the skillful hands of my mother's comadrona Generosa.
What brought you into Chicago Theatre?
I came to Chicago in 1980. After completing my Bachelor's Degree in Education and Theater from the University of Puerto Rico, I wanted to pursue a graduate degree in Theater. Unfortunately, at that time, there were no options for Theater Graduate Programs in Theater on the island.Chicago seemed like the best place to do that, because I had family here and I knew I was going to yearn for that family connection. Soon after arriving to Chicago, I was able to connect with the first Latino Theater Company in Chicago: Latino Chicago, and I started to teach and perform in their productions.
How have you seen the industry change?
After Latino Chicago became an independent Theater Company, they immediately realized there was an incredible thirst for Latino theater and Theater training in both Spanish and English for Latinos. However, they had a difficult time finding bilingual "teatristas" who were trained in Theater Arts. When I came onto the scene, I became part of the journey that helped fill that void, which kept us busy for a long time not only performing in theatrical productions, but also in television, radio and providing voice overs services.
I assumed the "exito" of Latino Chicago was going to open the flood waters for many other Latino theater companies to be born right away, however I was wrong. It has taken a long time to finally get our seat at the table in Chicago's Theater scene. After 40 yrs plus doing theater in Chicago, I feel a profound sense of gratitude and pride for the amazing theater work our young Latino/a/x generation of actors, writers, producers, artistic directors, technical crews, and all who are part (in one way or another) of this movement. Nonetheless, I bowed to theater companies like Latino Chicago and Aguijon Theater who have led the journey that has brought us to where we are today.
What inspires you most about theater?
My eyes light up with joy when I see a young person or adult tapping into their performing talents. I was trained to teach theater by some of the most talented minds in the history of theater in Puerto Rico and Latin America and "the teacher" is always inside me. I have moved on to do more acting, writing and directing roles, but the teacher in me is always looking for an opportunity to share what I have learned with others.
How does working with youth affect your artistry?
I have spent my adult life working with children and youth as either an Academic or Acting teacher. My artistry is affected by youth because they bring a wealth of life experiences, in most cases widely different than our own. And, their take on all forms of Art is fresh, up to date and honest. When I am working with them, they have a very important part in the creative process. I become the lead of basic artistic knowledge and the guide of their creative process, but they give birth to the creative explosion.
How do you choose the projects you want to work on?
For many years I have been doing my own artistic work at a grassroots level. I am a writer, therefore I write almost 100% of all the projects I get involved with, whether I am working with a cast or I am a solo performer. I choose topics that relate to my reality or the reality of the people I am working with. As the Executive Director of En Las Tablas Performing Arts, one of my responsibilities is to organize two recitals a year. I especially love to produce, direct and write the scripts for our recitals. I also select the music, design the costumes and sets. Even though, I love doing my own work, sometimes I yearn to work with a professional cast. My last two experiences as a cast member of La Gringa (Understudy) and Ashes of Light (Divina) produced by Urban Theater filled this urging need in part, however, the need is still not yet satiated.
What would you like to see change in the industry?
POC are still underrepresented in the theater industry. Based on my own experience, some of us come into this field with one or more training gaps; and many times we are unable to compete at the same level, due to the lack of financial resources to train in all performing arts areas. I believe the training must start early, be well-rounded, culturally relevant and most of all, affordable. That is why 13 yrs ago I co-founded En Las Tablas Performing Arts, NFP. We aim to close the training divide.
What advice would you give emerging theatre artists?
To emerging artists I would like to say: take advantage of the many artistic resources that exist in our communities; volunteer at an arts organization or an arts program at a school, or start your own small program in your own backyard. Don't overlook the down the street artists who have been doing this for years, become their apprentice. learn from those who are part of your everyday life. Trust that you will know when is time to meet new mentors, new lands and learn by creating and studying the arts on your own. Most important, when you get "there" go back to the community who supported you and give back what you learned from the them, but also gift them all the new knowledge that you came into. Would like to leave you with the words of one of my favorite poets:
”The poem, the song, the picture, is only water drawn from the well of the people, and it should be given back to them in a cup of beauty so that th
ey may drink – and in drinking understand themselves.” Federico Garcia Lorca
