Latinx Theatre

Olga Sanchez Saltveit and Shayna Schlosberg continue their conversation for the Latinx Leaders at the Forefront series, focusing on mentorship, trade-offs they have made, and their shared experiences working in service of equity.

Olga Sanchez Saltveit and Shayna Schlosberg sit down to discuss their careers making theatre and advancing equity for the Latinx community in the Pacific Northwest.

Nidia Medina, associate artistic director of INTAR Theatre, interviews José Luis Valenzuela, artistic director of the Latino Theater Company, about his path into artistic direction, his mentors, and the legacy he has cultivated.

Latinx Theatre Commons producer Jacqueline Flores introduces the Latinx Leaders at the Forefront Series, which amplifies the history and work of Latinx teatros through conversations between established theatremakers with future leaders of the field.

Communications manager Ramona Rose King chats with Abigail Vega on her last day as HowlRound’s creative producer to reflect on her work with HowlRound and the Latinx Theatre Commons, producing using commons-based practices, and advice she’d give to aspiring producers.

Theatre researcher and journalist Eduardo Campos Lima discusses Grupo Tapa’s production of Papa Highirte and explores the history of the powerful play.

Daphnie Sicre discusses the way that Latinidad, Blackness, and queerness intersect in “Marimacha,” comedic coming out story about an AfroPanamanian family on their way to a wedding.

Trevor Boffone reviews Tus Tías’ The Invocation of Selena, a sketch comedy and cabaret-style show that begins by summoning Latine icon Selena and ends by eulogizing her.

The LTC announces they are now accepting applications for Colaboratorio, a series of learning opportunities to encourage authentic creative expressions and collaboration between Latinx designers and directors.

Theatremaker Maria Patrice Amon shares her experience watching La Carpa De La Frontera at Latinx Theatre Commons’ 2022 Comedy Carnaval and explains the significance of carpa theatre.

Monica Payne recaps the 26th international Gdansk Shakespeare Festival, where artists from around the globe adapted, deconstructed, and celebrated Shakespeare’s plays through boldly contemporary productions.

Ann James interviews Cha Ramos about her approach to intimacy direction, which pulls from Cha’s multidisciplinary theatrical career, her Cuban American upbringing, and—perhaps most crucially—her intentional rediscovery of spirituality as an essential part of artistic practice.

Trevor Boffone reflects on the 2022 Latinx Theatre Commons (LTC) Comedy Carnaval that convened at Su Teatro in Denver, Colorado, which was comprised of productions, readings, panels, and special sessions that showcased the depth and range of Latinx comedy in theatre.

Amelia Acosta Powell describes the creation and intention behind Comedy Carnaval, an LTC event that invites Latine theatremakers to laugh in the face of oppression.

Educator and writer Marci McMahon reflects on her experience seeing Virginia Grise’s movement manifesto Your Healing is Killing Me at Cara Mía Theatre Co.

Gabriel Augusto Liparini Queiroz sits down with Adilson Siqueira, Aneliza Rodrigues Prado, and Patrick Veniali da Silva to discuss their work at the Laboratory of Ecopoetics (ECOLAB) at the Federal University of São João del-Rei. They share their research on the concept of the corpo quebrada—literally the “bent body”—which responds to ecological crisis by embodying resilience and flexibility.

Onisajé shares the creative process of Teatro Preto do Candomblé, which trains actors using the rituals and liturgy of Candomblé as a method of actor training. Through immersion in this African diasporic religion, Teatro Preto do Candomblé’s methods center reciprocal relationships with the environment and activate individuals’ connection to their Blackness.