Tag Archives: Theater

Que Onda? with Alex Lacamoire, music director of HAMILTON

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.

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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.

Ham4Ham: Taking Hamilton to the Streets

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Lin-Manuel Miranda reading Alexander Hamilton. The cast of Fun Home rapping. A Spring Awakening reunion. The “Confrontation” from Les Mis. Lin-Manuel Miranda and Lea Salonga singing “A Whole New World.” Okieriete Onaodowan singing “Defying Gravity” as Mickey Mouse. Alex Lacamoire playing the melodica. You didn’t know you wanted it, but when you got it, you loved it.

I’ve been to many lotteries (won a few, lost a lot). It’s usually uneventful. A theatre employee collects names on paper slips, pulls them out of a bucket, calls out the winners, the winners do some sort of awkward celebration (guilty as charged), and that’s about it, folks.

Enter Lin-Manuel Miranda.

Continue reading at Café Onda/HowlRound.

 

#LTCdallas: Challenges, Opportunities, and Reflections of the Texas Latina/o Theatre Community

On Friday, October 30, 2015, I woke up early, showered, packed, and hit the road for Dallas. In between a pit stop at Buc-ee’s (a Texas institution) and nearly shredding my voice to the (then just released) Hamilton cast recording, I couldn’t stop thinking about the weekend ahead. I was en route to the Latina/o Theatre Commons (LTC) Dallas Regional Convening (#LTCdallas) where Latina/o theatre in Texas would take center stage.

One of the principal goals of the Dallas Regional Convening was to connect Latina/o theatre artists and allies and their organizations in Texas to the growing National Latina/o Theatre Movement that has been in high gear since the initial LTC Convening in Boston in 2013. This was an important opportunity to dialogue, network, and deepen relationships across Texas and beyond. Among the LTC’s goals was to create a space to document, archive, and discuss the history of Latina/o Theatre in Texas for national dissemination as well as to investigate the varying challenges in and between regions.

Continue reading at Café Onda/HowlRound.

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Texas-based artists and scholars at #LTCdallas

Should Latina/o Roles Be Cast with Non-Latina/o Actors?

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

 

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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!

Interview with Josefina López

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 0101Boyle Heights Her@s Josefina Lopez - JC De Luna, August 2010 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.