Plays like Abortion Road Trip use theatre as a means to start conversations about these complex issues. In my eyes, theatre as a platform is most successful when reflective of the greater issues affecting our society, bringing to life these human stories and driving them further into our collective consciousness. As artists, we have a responsibility to imbue our work with truth and relevancy that can resonate with a range of audiences—that is the power of theatre. And that is the power of Abortion Road Trip.
Felt compelled to share this excellently-written piece by my friend Kaiya Lyons on her new blog about the intersection of art and law.
Although it’s entirely legal, the corporations’ readiness to pull out their funding evokes an ominous vision of the theatre community’s future. Especially considering the Trump administration’s proposed elimination of the NEA, corporate sponsorship of the arts in the Trump era is likely to be paramount to sustaining our country’s strong commitment to artistic freedom and, ultimately, free speech. Without active public funds going to the arts, it will fall upon corporations and individuals to prevent the chilling of artistic expression and political speech, which is “indispensable to the discovery and spread of political truth” and essential to thwart tyranny and corruption.
Washington Post: “…arresting and appealingly idiosyncratic…Thais Menendez is amusingly frivolous as Amy’s best friend, Reba…the production is gripping enough to elicit an ache of solicitude.”
DC Theatre Scene: “Thais Menendez is a melancholy Anne, who carries her emotional wounds just below the surface.”
DC Metro Theatre Arts: “…the stuff for which this gritty small theatre is best known…Anne, played feistily by Thais Menendez…
Broadway World: “…this very unsettling work is subtly powerful. The four girls are superb…Thais Menedez provides some much needed relief from tension in an outstanding cameo…this piece resonates much louder considering the nation’s political climate. “
This summer, I’ll be participating in DC’s Capital Fringe Festival as Mayte in Love in Ruins, a new work by Paul Handy, directed by the super brilliant Clare Shaffer. It feels particularly special to be entrusted with this story because Spain holds a dear spot in my heart, and because the story is nonfiction.
“El desprecio, querida, es un sentimiento terrible…excepto cuando es recíproco.”
These past two months have been a constant learning process for me. I’ve had the opportunity to work alongside an incredibly talented group of artists in Señorita y Madame: The Secret War of Helen Rubinstein and Elizabeth Arden, the US premiere of Gustavo Ott’s play about two moguls of the early cosmetics industry. The piece explores the pernicious rivalry between these two trailblazers, painting their stories in the context of early feminism, two World Wars, and the Great Depression. I form part of the ensemble, playing various characters to support the rich, fast-paced progression of this fascinating story that at times presents itself as an outright brawl.