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.
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.
It’s been great fun working on this project for GALita, GALA Theatre’s children’s series. After a two-week run for school matinees and public audiences alike, Las Nuevas Aventuras de Don Quijote has been touring to various schools in the DC area. I’ve never played a bilingual character before, so this has been a wonderful opportunity.
My main character was Don Quijote’s niece who served as translator/narrator for non-Spanish speakers in the audience:
but I also got to play another Spanish-speaking character that was quite fun!
Work Less // Play More // Be Free
by Edu Licciardi
Thoughts and comments about Cognitive Behavioural Therapies
Healing begins with you!
Encounters of an English Language Assistant
Writing and Life ~ by David Ben-Ami