Here, Trevor Boffone interviews Hamilton’s music director, orchestrator, and co-arranger Alex Lacamoire about his journey as an artist, his Cuban heritage, and collaborating with Lin-Manuel Miranda on In the Heights and Hamilton.
Alex Lacamoire with the 2016 Grammy for Best Musical Theatre Album. Photo courtesy of Laura Heywood Media.
Trevor Boffone: Growing up, who had the greatest influence on your decision to become a musician?
Alex Lacamoire: Probably my cousin Linda, who bought me my first piano when I was four. One of my earliest memories is of walking out my front door to find Linda on the street, standing behind a moving truck that was unloading an upright piano and bringing it into my house. Linda was young, still in college, and not wealthy by any stretch, yet she still shelled out her own money to buy that instrument as a gift. Years later, just after Heights had become a hit, I asked what compelled her to do that for me. She said: “Primo…When you were two years old, you would sit in front of your home-stereo speaker and just stare into it, hypnotized by the sounds coming out of it. You were born to be a musician. Your parents couldn’t afford a piano, and I couldn’t let the opportunity for you to learn be denied.” Naturally, I cried when she told me that story.
Continue reading at Café Onda/HowlRound.
While issues of casting and diversity in theater have likely always been around, several recent controversies in 2015 have led to a new crop of discussions about casting white actors in ethnically-specific roles.
This year alone, issues arose after the New York Gilbert & Sullivan Players released promotional materials for The Mikado that used yellow face, Katori Hall’s The Mountaintop was cast with a white actor playing Martin Luther King, Jr., and Llyod Suh’s Jesus in India was cast with two white actors and one mixed-raced actor playing roles specifically written for South Asian characters.
In light of these controversies, playwright Marisela Treviño Orta and I began brainstorming one night on Facebook about how Café Onda and the Latina/o Theatre Commons could intervene in this discussion. We asked the following questions to 5 Latina/o playwrights: Magdalena Gómez, Irma Mayorga, Marisela Treviño Orta, Elaine Romero, and Martín Zimmerman.
Should Latina/o roles be cast with non-Latina/o actors? How do you approach productions at colleges and universities when your play calls for characters of color but the acting pool at the university may or may not have the actors? How are you thinking about casting?
The responses that we received are rich in their content, diversity, and style. It’s worth checking out the essay for Magdalena Gómez’s poem, “Casting Call,” alone. Here are a few teasers:
“I’ve been fortunate enough to see university faculty lead efforts to diversify departments by programming work they needed to go outside their known actor pool to cast. These faculties just firmly believed they would find good actors of color to fill those roles if they worked hard enough. And 100 percent of the time they found those actors of color.” — Martín Zimmerman
“Can my work be done at a university level without causing harm? And by harm I mean perpetuating brown face?” —Marisela Treviño Orta
Sleeping Weazel’s Badass Festival at Boston Playwrights’ Theatre, featuring Robbie MCauley, Magdalena Gomez, and Kate Snodgrass. Photo by David Marshall.
Please visit Café Onda for the entire essay and to add your voice to the discussion!
I recently had the pleasure of interviewing Chicana playwright Josefina López about her work as a playwright, mentor, and community leader at CASA 0101 Theater in Boyle Heights.
López founded CASA 0101 Theater in Boyle Heights in 2000 to nurture the future storytellers of Los Angeles and to provide a space for Latin@ art-making on Los Angeles’s Eastside. This year marks the company’s fifteenth year—its quinceañera—of producing community-engaged theatre and cultural arts production. Here, López reflects on the past, present, and future of CASA 0101 as well as on her own position as a playwright, mentor, and community leader.
“One way we heal ourselves is by giving to others that which we wish was given to us. When our heart can expand to be big enough to be of service to others, our problems tend to disappear, because most of our problems come from being and seeing ourselves as small and insignificant.” – Josefina López
Please see Café Onda to read the entire interview.
Check out my Pedagogy of the Panza interview for The Panza Monologues Blog!
Check out Mariana Alegria and I’s Panza Monologues Blog about Amaranto Productions’ recent Panza Performance Platica at Houston Community College.
Check out my latest blog at Cafe Onda for the Latina/o Theatre Commons