Since it’s world premiere performance at the Mission Cultural Center for Latino Arts in 1990, Josefina López’s signature play Real Women Have Curves has become a cultural touchstone—evolving from a celebrated stage play into an award-winning 2002 film and a Tony-nominated Broadway musical in 2025. This this spring it returns to Los Angeles with a new production at CASA 0101’s Gloria Molina Theater, running March 27–May 3, 2026, with select performances presented in Spanish. ¡Que suave!

Set in 1987 Los Angeles, Real Women Have Curves tells of five curvy Latinas working in a tiny sewing factory who are trying to meet an impossible production deadline while hiding from immigration.  Their determination, courage and juicy “chisme” (gossip) help them form a bond and discover their power.

Creator and playwright Josefina López still marvels at the lasting impact of her landmark work. “When I wrote the first words of Real Women Have Curves in March 1988, I felt divinely guided to share my story,” she said. “I never envisioned the lasting impact and topical relevance my words would have this many years later.” López began writing the play at 18, inspired by the humorous yet revealing experiences she recorded while working in her sister’s sewing factory in East Los Angeles. Channeling her frustrations with machismo, racism, Hollywood’s objectification of women, and her own experience as an undocumented young woman, she shaped a story that would connect deeply with audiences.

Looking back, López believes the play’s enduring appeal lies in its celebration of women’s lives and evolving identities. “It reflects the four stages of womankind, the challenges of transitioning to the next stage and embracing the natural and organic process of aging and coming into our own wisdom,” she said. Inspired by her mother, sister, and the women around her, López now sees the play as “a sacred dance of feminine energy and camaraderie” that helps liberate women from shame—especially about their bodies.

Real Women’s unique message of body positivity, strength in the face of oppression and the power of the immigrant dream has resonated so profoundly over the decades that it has had nearly 130 professional and regional productions.  

Thi six week run at CASA 0101 stars Stefany Arroyo (Ana García), Yasha Alaniz (Estela García), Bianca Araceli (Carmen García,)  Amy Melendrez (Rosalí), Laura Vega (Pancha)  – and featuring, on stage for the first time, the original sewing machine that once belonged to Josefina López’s late mother, Catalina Perales López, who was the model for the character of Carmen García.  So, this is a distinctive cast in a story that takes on new relevancy in these challenging times.   Creatives behind the curtain boasts a talented team of creatives, including set designer César Rentana-Holguín, lighting designer Alejandro Parra, costume designer Tony Iniguez, and graphic designer Itzel Ocampo.

Heading this powerful artistic team is CASA’s longtime associate, director Corky Dominguez talked about working with Lopez, “I have had the great pleasure of collaborating with Josefina López on many of her original plays by taking what she has written on the page and breathing life into her characters and words by realizing them on the stage.  He also find a deeper corrolation, given to what is happening in the world we are living in today, “The spot on poignancy of Josefina’s themes and plotline in Real Women Have Curves, laced with a heavy dose of humor, is undeniably pertinent, joyous and uplifting for our times.  This will be the take away for audience members who come to see our production!”

As an ardent fan of Ms. Lopez’s writing, this journalist is personally overjoyed that Real Women is returning to Los Angeles, the place where this story was born and where it can play to a hometown audience who’s always responded to its enduring message.  I’m also extremely excited to announce a very special upcoming event, titled, Curves in Concert taking place on March 20th at the Renée and Henry Segerstrom Concert Hall in Costa Mesa, California. This very special, one-time only performance will reunite members of the original Broadway cast of Real Women Have Curves:  The Musical as they sing selections from Joy Huerta and Benjamin Velez’s Tony Nominated score.  I caught the Broadway production and can highly recommend this special night directed and choreographed by Tony Award-winner Sergio Trujillo, who helmed the show in New York.  The concert will be followed by a talk-back with Ms. Lopez.

FOR ALL SHOW INFO: www.casa0101.org

Real Women Have Curves
Gloria Molina Auditorium at CASA 0101 Theater
2102 East First Street
Los Angeles, CA 90033

ENGLISH PERFORMANCES: Fridays & Saturdays @ 8:00 pm. on March 27 – May 3, 2026; Sundays @ 2:00 pm on March 29 & April 5, 2026; Sundays @ 7:00 p.m. on April 12, 19, 26 & May 3, 2026.  Playwright Josefina López will be doing a Talk Back after the Matinee performances on Sunday, March 29th and April 5th.
SPANISH PERFORMANCES: Sundays @ 2:00 p.m. on April 12, 19, 26 & May 3, 2026.  

The post Classic Play ‘Real Women Have Curves’ Returns at CASA 0101 first appeared on .

The Bible’s Moses story told in the book of Exodus has been the subject of many films, documentaries and series with The Ten Commandments being the grandaddy of them all.  So much so that to this day an Easter week cannot pass without the 1956 blockbuster being broadcast repeatedly starring Charlton Heston in his most Technicolor role.  But perhaps the most notable version is DreamWorks’ ingenious 1998 animated musical film, The Prince of Egypt.  Featuring songs by America’s greatest living theater composer Stephen Schwartz of Wicked fame, Angelinos will soon get to see the unique stage adaptation of this retelling of how  Moses discovers his Hebrew heritage and leads his people to freedom from slavery in ancient Egypt. This musical’s central plot focuses on the powerful bond between Moses and his adoptive brother, Ramses, who are torn apart by their diverging destinies.  

Although DreamWorks crafted a family friendly animated feature film, it was not without controversy.  The movie was challenged for its depiction of prophets (forbidden by Islam), assigning God a male gender, emphasizing the not-Biblically accurate storyline of fraternity between Moses and Ramses, and its disputed portrayal of Egyptians’ violent mistreatment of the enslaved Jews.  

Despite these hurdles, The Prince of Egypt had a remarkable debut and was universally praised as “stunning”  (L.A. Times); “a breakthrough” (New York Times);  and “an outstanding artistic achievement!” (Variety). Stephen Hunter from The Washington Post lauded the film, writing, “The movie’s proudest accomplishment is that it revises our version of Moses towards something more immediate and believable, more humanly knowable.”  The film went on to become the most successful, top-grossing non-Disney animated film to date.  A fan base grew around the film as musical afficionados speculated that a live theatrical version was in order.  After all many animated films had already been successfully adapted into hugely profitable Broadway shows like Beauty and the Beast, The Lion King, The Little Mermaid and Aladdin – why not The Prince Egypt?  Fans were overjoyed when in 2020 it was announced that Stephen Shwartz had written additional songs for London’s new West End live theatrical version.  It is that much heralded stage adaptation that the creatives at Casa 0101 are so excited to be presenting November 22 to December 21, 2025.

Casa’s Founding Artistic Director, Josefina López, is thrilled to take on this daring project, saying, “My dream of starting my own theater 25 years ago has flourished successfully over the years to bring us to this point where we are presenting one of the most epic stories of all time on our stage.  I am so proud of our artistic work and overjoyed. Here’s to the next 25 years!”

Emmanuel Deleague, Producer and Executive Director of CASA 0101 Theater is equally effusive: “This production will amaze audiences.  It is truly a Broadway caliber play in an intimate theater setting.  I am very grateful for (director) Rigo Tejeda’s big vision and the entire cast and crew’s dedication to breathe life into this epic story. But beyond the spectacle of this production, the story is what matters, locating your moral compass and having the courage to act in the face of adversity and fear.  I believe this play will leave our audiences inspired.”

“I am beyond excited to be directing this classic story based on the Book of Exodus as a staged musical,” says director, Rigo Tejeda. He continued, “ I remember as a child always eagerly looking forward to watching the film, The Ten Commandments, on television and being awed by the production values of the story telling.  That sense of wonderment and pageantry through the marriage of glorious music, choreography, costumes, sets and special effects is what audiences who come to see this production will experience.”

Producer Abel Alvarado adds, “There will be over 60 costumes in this new production designed and/or assembled by Tony Iniguez, Costume Designer for RuPaul’s Drag Race, which has won 27 Primetime Emmy Awards.  Iniguez’s creations have also appeared on Bravo’s Botched, Next Top Model and Saturday Night Live, and he has dressed stars like Ariana Grande, Megan Thee Stallion, Carrie Underwood, Shania Twain and Beyonce.”

The cast of principal actors include (Actors Equity*):  Diego Huerta-Gutierrez* (of Santa Ana, CA) as Moses (Actors Equity); Christopher J Thumé (of Studio City, CA) as Ramses; Joslynn Cortes* (of Sherman Oaks, CA) as Tzipporah (Actors Equity); Jabriel Daniels (of Los Angeles, CA) as Seti/Jethro; Chrissi Erickson (Highland Park, CA) as Miriam; Aiden Ricardo Heredia (of South Los Angeles, CA) as Young Aaron; Danielle Johnson (of Glendale, CA) as Queen Tuya; Sammy J Kohler (of Escondido, CA) as Aaron/Guard; Naledi Miga (of Koreatown, CA) as Nefertari; Sofia López(of Riverside, CA) as Young Miriam/Leah; Tal Toker (of Chatsworth, CA) as Hotep; and Toni Elizabeth White* (of West Hollywood, CA) as Yocheved (Actors Equity).

The talented singing and dancing ensemble include:  Julian Armaya,  Christopher D. Baker, Aaron Gibbs, Kayleigh Long, Gabriella Ortiz* (Actors Equity), Emily Ann Pember, Faith Perez, Alyssa Rojas, Joseph Rosales and Abraxaz Efrain Sanchez López.

Both Tania Possick (Choreographer) and Gabrielle Maldonado (Music Director) are experienced professionals who are going to bring great song and movement to this glorious production.  

This writer, along with all the theater community are excited about Casa 0101’s commitment to presenting innovative musical theater like The Prince of Egypt to the Los Angeles. Once again, this is a rarely produced piece whose  message of speaking truth to power is an inspiration in our times.  This show is a “must see!”  Bring the whole familia to experience the joy and majesty of The Prince of Egypt.  

WHO & WHAT:  CASA 0101 Theater presents DreamWorks THE PRINCE OF EGYPT:  THE MUSICAL.  
WHERE: Gloria Molina Auditorium at CASA 0101 Theater, 2102 East First Street, Los Angeles, CA 90033

WHEN:  Fridays & Saturdays at 8:00 p.m., and Sundays at 3:00 p.m., November 22 – December 21, 2025.
TICKETS:  $35.00 per person for General Admission; $30.00 per person for Students and Seniors 60+, $25 per person for Boyle Heights residents & Groups of 10 of more.  For tickets, please call the CASA 0101 Theater Box Office at 323-263-7684, E-mail tickets@casa0101.org or buy online at www.casa0101.org<http://www.casa0101.org>

AGE APPROPRIATENESS: This show is recommended for children ages 8 and up.  Children three and under will not be permitted.  

GALLERY: A free art exhibit entitled “Always Running:  Photography by Luis J. Rodriguez,” (Los Angeles’ Poet Laureate from 2014-2016) will be open to attendees.  The exhibit includes images related to Rodriguez’s book, “ALWAYS RUNNING:  La Vida Loca:  Gang Days in L.A.”  

PARKING:  Free parking is available on several streets surrounding the theatre.  Limited free parking is available at the Boyle Heights City Hall Parking Lot located at 2130 East First Street (at Chicago Street) by entering the lot from Chicago Street.

CASA 0101 Theater Supported in Part By:  The State of California, Los Angeles County Department of Arts & Culture, National Latinx Theater Initiative, Herb Alpert Foundation, Perenchio Foundation, The City of Los Angeles Department of Cultural Affairs, California Arts Council, U.S. Bank, The Herb Block Foundation and the David Lee Foundation.
For All Show Info: visit www.casa0101.org<http://www.casa0101.org>

The post CASA 0101 Presents DreamWorks ‘The Prince of Egypt’ The Musical   first appeared on .

By Cris Franco

In Beisbol y Novelas (Baseball and Mexican Soap Operas), playwright Ignacio González recounts how young Jaime and his Abuela clash over their only television set whenever his Dodgers and her novela were aired at the same time.  Avelino, Jaime’s dad, is caught between two generations rooted in two countries.  That changes when a young Mexican pitching sensation brings the family – and the entire community – together.  “I wanted to show how Fernando Valenzuela united generations through beisbol.  Prior to his arrival, the sport was for little boys, their fathers or an uncle as coach.  After Fernandomania, abuelas, tias and primas all wanted to watch beisbol,” said González.  

This and 11 more world premier playlets capture the uplifting, heartfelt and often life-changing effect “El Toro,” Fernando Valenzuela, had upon Angelinos during his historic pitching summer of 1990. The Sonora, Mexico-born Valenzuela’s far-reaching impact is what drove CASA 0101 Founder and Artistic Director, Josefina López, to create this anthology, saying, “When Fernando came into the general public’s consciousness, his screwball pitches not only turned him into a Major League Baseball icon — but for millions of Mexicans, like myself, he became someone to look up to.  Our Ten-Minute Play Festival, FERNANDOMANIA is our way of thanking Fernando Valenzuela for the legacy he has left us.”

López’ anthology, Fernandomania Forever, is based on a poem she wrote for the Boyle Heights unveiling of renowned artist Robert Vargas’s mural of Valenzuela. “Fernando Valenzuela was my hero when I was 12-years-old, when I had none.” López continues, “My family and I were undocumented and his victories made us feel seen.  My father, who was a bracero and was humiliated in this country during that time, felt so proud to be Mexican when he saw Fernando strike out his opponents. This inspired him to name my little brother after Fernando.”

Most notable among the contributors is María Fernanda Valenzuela (Fernando’s youngest daughter) whose playlet Linda is titled after her mother who had four children with Fernando during their 42-year marriage.  Says Ms. Valenzuela, “It’s been incredibly meaningful to honor my father by writing Linda, a play that reflects his impact and our family’s love.  I also appreciate CASA 0101 for their continued support of young writers and actors in our community.”

And when Josefina López put out the call for the community’s recollections on Fernandomania, their response was overwhelming.  Here are some selections from the night’s offerings: 

In From Somewhere, by Jose Luis López, Jr., sportscaster Jaime Jarrín’s live, Spanish radio broadcasts of Valenzuela’s prowess atop the pitcher’s mound give hope to a young boy who listens intently while his immigrant parents reveal their quiet battles of work and belonging.  The author says, “Though both my immigrant parents weren’t into sports, they still felt a connection to Fernando Valenzuela — because he represented people like them.  I missed Fernandomania, but I grew up knowing who Fernando Valenzuela and Jaime Jarrín were before I even understood baseball.  This play is about hard work, family, and being seen.  It’s my way of honoring my parents and the many others who gave so much and asked for so little.”

No Sabo (I Don’t Know), written by Oscar Arguello, finds a nine-year-old boy, obsessed with television who is starting to reject his culture, until his mother points out the shared qualities between themselves and Fernando Valenzuela.  He learns a lesson about identity and what truly makes a hero.  Says Arguello, “This is my story.  I was a non-Spanish-speaking “No Sabo Kid” in the 80s, even though my parents were Mexican.  But once Fernando Valenzuela became a world-renowned television media star, I owned my identity and embraced my heritage.”

In Celina Martinez’s A Good Hero/Un Buen Heroe, a chronically ill college professor calls upon her deceased father’s spirit to re-experience the healing joy of reminiscing about their beloved “Fernando.”  Martinez recalled, “As a child, I’d watch  baseball with my father, Juan, who taught me all he knew about the game as he regaled me with tales of his years pitching in the Cuban baseball leagues.”  

Michael St. Onge’s Once Upon A Time in LA, is based on true events. Says St. Onge, “In 1958, my grandfather immigrated to America as a young man to work the fields of Coachella.  For years, he listened to the Dodgers’ games on Spanish radio, but truly became a fan when Fernando Valenzuela started pitching.  Not having a lot of money growing up, going to a Dodgers game was unaffordable.  After my father passed, I began manifesting behavioral problems.  My grandfather invited me to see Fernando pitch.  It was the first Dodgers game for us both, and it changed our lives.  I think my grandfather’s pride grew as he recognized a little bit of himself in Fernando.  I looked at the obstacles young Fernando had to overcome in coming to America from another country. Though he did not speak English, against all odds, he still succeeded!  I realized that I also had a rough path ahead of me — but there was still a chance for me to succeed as well.”

Written by Gloria Isabel Briseño, Nando is about the playwright’s late brother, Fernando Ochoa, whom she lost a year ago in August 2024.  Gloria’s narrative follows two siblings, Nando and Isabel, on their yearly hike up the Elysian Hills to talk about everything — and nothing.  As the sometimes mysterious conversation unfolds, we wonder if all parties in the scene are actually present?  “I was driven to write this play because of my deceased brother, me being a big Dodger fan and because I’m dedicated to never forgetting the Chavez Ravine community that was dislocated from their homes when the stadium was built.  So, for me, it’s a really mixed bag.  On top of that, my mother named my brother Fernando because of Valenzuela, so my play explores how one person’s brave act can impact a whole city and a single life.”

La Habra Ass Foos written by Christopher John Magallanes (aka Don Hueso) tells of Gabe who has changed his persona to fit the Chicano stereotype.  Can his friends Johnny and Robert convince him to be true to himself?  Their journey of self-discovery begs the burning question:  What does it mean to be Chicano, anyway?   Says the author of his playlet, “Fernando Valenzuela entered the public eye at a time when Mexicans felt unrepresented in Major League Baseball.  Fernando’s presence in the then predominantly white sport resonated with the many Latinos who felt like they were fighting to be recognized in a country that had disregarded their value.  Not only did Fernando achieve recognition and acclaim, but he did so while always being himself and never changing to appease the status quo.”

In Safe At Home, written by Kimberly Huff, a middle-aged, third generation American-Mexican Dodger fan communes with her late grandfather about Fernando Valenzuela’s influence on immigrants.  She simultaneously grapples with the whiteness of her own skin and the silence of the Dodgers during the recent political events in and around Los Angeles including the recent ICE raids.  Playwright Hoff said, “The main female character, Kathryn, embodies elements of my late mother and me at ten-years-old.  The character of Antonio is based on my maternal grandfather, with whom I shared a strong mutual admiration of ‘El Toro.’”

Our Playground, written by Dr. Connie Valencia is semi-autobiographical. The action takes place in an East L.A. park where an amicable workout among four childhood friends takes a surprising turn when the group are all signed-up for a baseball game. To confront her anxieties and overwhelming desire to win, Cassandra allows herself to be guided by the spirit of Fernando Valenzuela.  

Dr. Valencia says, “The four women represent my three friends and I, who for years all participated in YMCA youth sports at Breed Street Elementary.  It was an amazing and unforgettable experience being part of that program”, She shares and continues, “My parents were more enthusiastic when Fernando Valenzuela played, because we were watching a player that represented us.  On game days my parents would pick us up from school as early as possible so that we had enough time to make dinner, clean the house, finish homework and enjoy the game.  My parents, especially my dad, were in high spirits and approachable when Fernando played.  These were the days that I felt most at ease around my dad. The Dodgers became a cultural staple in our household when they signed Fernando Valenzuela.  For the first time, many Latinos including members of my family and friends felt that Latinos were finally being acknowledged as a force in American sports.”

Chris Banda’s Blue Day, opens on four siblings sifting through what they consider to be their late father’s neglected possessions – until they unexpectedly uncover a long-buried memory that sparks a journey of healing and familial connection.  Says the writer, “While cleaning out my garage, I came across some small mementos from when my son was one-year-old.  He is now 26, but holding these items brought back long forgotten memories.  I find it fascinating how these little keepsakes can transport us back in time, serving as magical keys that unlock doors in our minds.  Many of us have strong recollections tied to experiences associated with Fernando Valenzuela, and I wanted to connect those memories to our keepsakes.  These items help us preserve and transform meaningful moments into tangible memories.”

Ah, yes – memories! 

FERNANDOMANIA  is  performed in English and/or Spanish with supertitles and is recommended for all ages – from niño to viejo! It is directed by Emmanuel Deleage, Carmelita Maldonado, Karla Ojeda and Vance Valencia with a cast featuring Adlih Alvarado, Yasha Alaniz, Luis Galilei, Veli González, Phoenix Marroquin, Evelyn Menchaca, Gabriel Montoya, Martín Morales, Jose Nateras, Edward Navarrete, Eugene Antonio Negrete, Itzel Ocampo, Jeremiah Ocañas, Gabriela Pedraza, Alejandro Reynoso and Laura Vega.  

To have your own Fernandomania experience come see the show. For all info, visit: www.casa0101.org 

FERNANDOMANIA 

WHEN (four weeks only):  August 29^th thru September 21^st, 2025;  Fri/Sat at 8 PM & Sun at 3 PM

WHERE: CASA 0101 THEATER 2102 E. 1st St., Los Angeles (Boyle Heights), CA 90033

PRICES: General admission $25 • Seniors 60+ $22 • Boyle Heights residents & groups of 10 or more $20

TICKETS: 323-263-7684; tickets@casa0101.org ; www.casa0101.org

POST-SHOW TALK BACK SESSIONS (for ticket holders only):  Sunday matinees with varying panelists, moderated by Mexican-American baseball author: Professor Richard Santillan

The post ‘FERNANDOMANIA’: Play Festival Celebrating Baseball Legend Fernando Valenzuela  first appeared on .

Nicholas Matos is currently appearing alongside some of Broadway’s hottest names in one of the season’s biggest shows: SMASH — based on the TV show of the same name. Eight times a week, the young Mr. Matos portrays the offbeat character of Scott, a twenty-something, social media-head caught up in a zany musical comedy about putting on a musical comedy. An unlikely outcome for young Mr. Matos who not long ago was preparing for a career in science. We got this very busy actor to speak on his artistic trajectory, how biology is like acting and why aspiring actors should not wait until they feel they are “ready.”     

CRIS FRANCO:  First off, Nick, congratulations on your great success in SMASH. The show is terrific as is your very original characterization of the show’s newbie production assistant named Scott — how would you describe him?

NICHOLAS MATOS:  Clueless — at first. Scott’s an observer. But he constantly wants to learn more because he’s thrust into this world of hard-boiled Broadway veterans. And my character doesn’t know the basics about musicals. He doesn’t even know who Julie Andrews is, so —  

CRIS: He’s the ultimate Gen-Z-er. 

NICHOLAS: Right. In every scene, there’s something new happening around him, so Scott is constantly looking for how he can contribute to the conversation.

CRIS: Your Scott character is truly original and hilarious. He often delivers the “button” or the “blow” out of the scene — the zingers that move the plot on to the next story beat. Scott is also pivotal because his last minute insights provide the play’s climax. When it seems everyone’s efforts were for naught, once clueless Scott sings his epiphany as he puts it all together for us. 

NICHOLAS: Yes, his trajectory is so much fun to play with. My final number is the show’s only original song — all others debuted on the series SMASH. My song, titled “Broadway’s Calling You,” was written by Marc Shaiman and Scott Wittman — two composers that I’ve looked up to for years. So, just getting to sing it alone on stage is crazy. Our director (five-time Tony Award-winner) Susan Stroman and I frequently discussed my song’s function during rehearsals. She directed me to not start at one-hundred percent.  To keep the excitement growing and growing. So, I start it light and airy — and keep building from there. 

CRIS: And in one fell swoop, your song delivers the show’s message.  

NICHOLAS: Yes, so as the story evolved there were a lot of rewrites. The version I now perform is my character realizing that on Broadway, like in life, you keep moving forward even if you fail. So we worked a lot on my building the song’s intensity, because as the show’s climax, we have to get to a moment where the set literally explodes behind me into the big finale. 

CRIS: Well, you really got us there the night I saw the show. SMASH’s finale is jaw-dropping. But let’s talk about how you got here. You’re very young but already have some pretty strong performance credits. How did you get started? 

NICHOLAS:  I did my first theater when I was 12-years-old, in my school’s production of Hairspray.  Which is funny, because I’m now working with the composers of Hairspray. And my director told me about this program in the city called iTheatrics.  They develop the junior musicals like Hairspray Junior, and they try them out with kids over the summer.  I auditioned, got into that program and that really started everything. I began meeting people in the city from NTI (National Theater Institute). When I got to high school, I did Godspell in concert at the 54 Below cabaret night club. I was singing the role of Jesus — 

CRIS:  I checked it out online. You sing “God Save the People“.  

NICHOLAS: Yeah, that’s the one. I was about 15 at the time. And through that concert, I met my manager who introduced me to some agents, and then right after getting an agent, I booked the Radio City Christmas Spectacular. And that was like the first things that made me realize that maybe I could actually do this as like an actual job, or an actual career instead of just something that’s fun to do.

CRIS: Radio City is enormous!  What’s it like singing for 5900 people? 

CRIS: Tell me about how many Radio City shows do you do on some of the heavy days? Don’t you do sometimes do five shows?  

NICHOLAS: Yes, the Christmas Spectacular have some five-show days. But because I was under 18, we weren’t allowed to do that many. The most I could do in a day was three.

CRIS: How old were you then?

NICHOLAS:  I was 15. 

CRIS:  What is your background?   

NICHOLAS: I’m like 100% Dominican. Both of my parents are Dominican. 

CRIS: What was your childhood like growing up 100% Dominican?  

NICHOLAS: I grew up right outside the city in Secaucus, New Jersey. All of my extended family, my grandparents, my cousins, all live in Washington Heights in the Bronx. So I’d go to my grandparents’ house every other Sunday for dinner. I’m thinking of moving there probably soon. But I grew up in New Jersey, that’s my home home. I have two brothers. I live with both of my parents and nobody in my family has ever done theater. So this is a big surprise. When I first started, my parents would always say that they had no idea that I could do this. But honestly, neither did I. It kind of came out of nowhere.

CRIS: So your parents are not performers? 

NICHOLAS: No, my dad is a lawyer.  And my mom works for a telecommunications company — they’re business people. 

CRIS: Do they understand what how special it is to do what you do? 

NICHOLAS: I think they’re understanding more and more. They support me no matter what, but when I first started, they did not get it at all. They didn’t know anything about Broadway or musical theater, or what it took to get here. I really drove that process and I had to show them the ropes. But they’ve learned stuff throughout all the years and they kind of get it now.

CRIS: Which means you’ve really managed your career by yourself.  Wow. You realize you must have beat out thousands of actors for your role.  Because the part of Scott could have been played by a male or female of any ethnicity.  So, I’m sure the casting agents considered submissions by thousands of possible actors.   

NICHOLAS: Yeah, I think so. 

CRIS: Congratulations.

NICK: Thank you, thank you so much.

CRIS:  Being a show within a show, SMASH is about so many things.  How would you describe the plot?

NICHOLAS: SMASH is about the making of a musical.  The tagline is that it’s “a comedy about a musical,” and that’s really exactly what it is. It’s about this team of Broadway veteran creatives who are trying to make a huge hit musical “comedy” about Marilyn Monroe. 

CRIS: Which is already pretty outrageous, because Marilyn Monroe had a tragic life. 

NICHOLAS: Correct.  And throughout the process, things go wrong — and there’s so much drama and shenanigans.  Act One ends on a totally ridiculous, over-the-top, hilarious moment.   

CRIS: Yes, Act One does end on a doozy of a cliff hanger. It’s brilliant plot twist, because my party spent intermission each theorizing on how we thought the plot would resolve. It was fun — but let’s not give away the ending.  

NICHOLAS: No. Let’s just say that by play’s end, the show turns out to be a love letter to Broadway and creatives in any field.  The song that I sing honors the creative process  —  what it means to struggle and labor and care for a project. And although we all strive for success — that’s not the long term goal. The goal is to keep going and creating the next thing.  Which is an idea that really must speak to all people because our audiences are loving the message.  

CRIS:  And it was pleasant surprise when the character we least expect — yours — suddenly gets the message and so do we!  

NICHOLAS:  That’s what I love about playing Scott.  He represents the new blood and new generation of theater lovers coming in.  The veterans have all had their chances — Scott represents the next generation of theater creatives who are going to bring in the new ideas.  It’s how new work is created. 

CRIS: Yes, he’s being handed the baton.  And in doing so, it ends the story with so many fun possibilities. Your cast is full of top Broadway talent, including one of this year’s Tony nominees for Best Supporting Actor in a Musical, Brooks Ashmanskas.    

NICHOLAS: He plays our director, Nigel. Brooks is such a talent. He blows my mind every time. 

CRIS: Just like his character in SMASH, Brooks is a true Broadway veteran. He’s appeared in well over a dozen Broadway shows. What’s it like working with a comedic genius like Brooks? 

NICHOLAS: He blows my mind every time. And I’ve learned something very important from him: to remain flexible.  

CRIS: Like don’t be afraid to vary your performance? 

NICHOLAS: Yes. Of course it’s the same script. But Brooks never does quite the same performance twice.  His choices are rooted in the same intentions and emotions, but how he plays Nigel is completely dependent on that night’s audience and how a line has been delivered to him. 

CRIS: That takes courage. 

NICHOLAS: Plus he (Brooks) always fully commits. To get to work so up-close with such a great actor is so cool. He just always goes for it. 

CRIS: What’s been the most surprising thing about this experience?  

NICHOLAS:  Well, during rehearsals there were so many rewrites and trying-out new things. One day I literally opened my mouth to start rehearsing my song when Mark Shaman threw new lyrics in front of my face. The piano kept playing so I grabbed the lyric sheet and just went with it. You have to be super on your toes and ready for whatever the creative team or your cast-mates throw at you. Also, since I’ve never done eight shows a week, I had to learn how to pace myself throughout the week, prepare for each performance and still try and have a life. 

CRIS: I’ve done eight shows a week and audiences have no idea how demanding that is of your time, your health, your energy —  

NICHOLAS: True. But even so, our director, Susan Stroman, wisely told us to never let the show’s energy slow down. Once this show starts, you’re on the ride, and you better hold on because you can’t let the ball drop. The timing has to be perfect. You have to jump on each other’s lines and constantly be pushing the energy.

CRIS:  SMASH has so many fast moving parts: scenery, costumes, lights, fast changes — not to mention the classic Broadway, Tony-nominated choreography by Joshua Bergasse. Have there been any technical snafus? 

NICHOLAS: Technical?  No. Thank goodness.  But, there have been times when Brooks will do something crazy and it’s genuinely impossible not to break — it’s so hard not to. But you have to somehow stay in character.

CRIS: Brooks broke me up almost every second he was on stage. And it takes years to develop and hone that type of hyper, but believable, comic persona. Among our readership are many aspiring young film and stage actors.  What advice do you have for those who want to make it to Broadway? 

NICHOLAS: You know, I’ve actually been thinking about this a lot because my friends studying theater in regular 4-year BFA or BA programs have been asking me how to get to Broadway.  So many of them think that you have to wait until you graduate to start auditioning and looking for agents and really going for it. But I truly believe that you don’t need anyone’s permission.  You won’t know if you’re ready until you do it.  And the best way to learn is on the job. So just start now. 

CRIS:  That is a powerful message. And it’s true, you won’t know if you’re ready to go professional until you do. 

NICHOLAS: I’ve had a really unconventional education. I was at Fordham University studying biology for two years before I transferred to the theater department.  After one semester of acting and movement I booked SMASH.  

CRIS: Which, in a way supports my theory that what’s so cool about acting is that it’s a profession to which you can bring your whole self — including your outside interests.  Some actors who are only interested in acting sometimes miss the point: you can’t bring any reality to your performance if you’re not living a real life, you know?

NICHOLAS:   I know that I still like studying biology and the mind — and math and science. They’re all still a part of me. And, honestly, I think my love for biology and my love for theater come from the same place.  And it’s my desire to understand what makes people the way they are. They’re totally different approaches to exploring that question, but that’s why I love neuroscience. But I also love inhabiting characters and figuring them out. Yeah, I like trying to figure out what makes people tick.

To see what make Nicholas Matos tick, see him in SMASH: https://smashbroadway.com

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Inspired by the much lauded 1999 documentary and its accompanying Grammy-winning album of the same name, Buena Vista Social Club has morphed yet again.  This time into Broadway’s newest mega-hit musical. Playing to packed houses at the Gerald Shoenfeld Theater, it’s a tropical party that pulsates with rapturous Afro-Latino rhythms set against the tumultuous human drama that was mid-century Cuba. 

To bring the era, the artists and their musical masterworks to the stage, book writer Marcos Rodriguez has cleverly blended fact with fiction and woven two parallel story lines.  One, set in the 1950s, follows the talented young singers Omara and Haydee Portuondo who have broken through the color barrier by appearing at Havana’s exclusive (predominantly white) Tropicana night club.  When they are invited to sing at the Afro-Cuban Buena Vista Social Club, the sisters are of different minds. Haydee, who dreams of a recording career for the team, sees no benefit in slumming it among the locals.  She asks why should they perform at the Buena Vista Social Club?  “Because there are no tourists there,” exclaims Omara, “because they’re playing for us!” 

Enter the Cuban Revolution and the impact of Omara’s prophetic words will be echoed throughout the accompanying story line that takes place some forty years later in 1996.  Record producer Juan de Marcos (affable Justin Cunningham) is looking to preserve for posterity that iconic Buena Vista Social Club sound.  His plan: to reunite the original musicians for a historic recording. De Marcos’ efforts in locating and reuniting those veteran artists takes the audience into a unique theatrical experience. We journey back in time to a place where smoking-hot musicians pioneer a raw, sensual, celebratory Latin-jazz that sets the room dancing to songs recounting the highs and lows of island life and tells of the saga of one woman’s journey to preserve the purity of her art.   

That woman is the musical’s central character, the now older Omara Portuondo (Tony-nominee, the regal Natalie Venetia Belcon).  We learn that when Young Haydee fled Cuba with their American record contract in hand, Young Omara opted to stay and keep alive the authentic music of her homeland.  Which she did for the next forty years. 

Fast forward to the 1990s where de Marcos is pulling together some of the original Buena Vista Social Club musicians.  Through these meetings we learn their sometimes heartbreaking backstories of survival and witness their time-tested talents. All want to participate — only Omara is holding out. But after much cajoling, soul searching and hearing the musical magic they create — she finally agrees to be their lead singer.  Joining her to perform these pure versions of classic Cuban “bolero,” “guajira” and “danzon” are guitarist-singer Compay Segundo (Da’Von T. Moody), pianist Rubén González (Leonardo Reyna), and vocalist Ibrahim Ferrer (Wesley Wray).  All are gifted at presenting these songs in the unbridled Afro-Cuban Spanish dialect.  (Kudos to the creators for wisely choosing to not translate these highly stylized lyrics into American English, but rather allowing the original words and music to speak for themselves.) 

And what songs!  The show features such classic as the slow ballad of “Chan Chan” who, while at the beach, was so taken by his love for his woman, Juanica, that when she shook her body to shake off some sand, Chan Chan grew embarrassed of his desire for her.  

“El Cumbanchero,” an uptempo about a party animal who dances the cumbia.  The song’s fun-loving main character lives each day to the beat of the bongo.  “El Cumbanchero” was made famous by Desi Arnaz who first recorded it in the mid 1940s and later performed it on his TV show, I Love Lucy”,  “El Carretero” a guajira (country lament) about a hard working cart driver — a traveler who dreams of one day marrying and settling down but for now is a guajiro (peasant) going about his job. These quotidian story songs and many more fill the Buena Vista Social Club with an intimate look at the simple truths of the value of living life to its fullest.  

Immersing us deeper into the show’s exploration of the human condition is the evocative and sensual choreography (Tony-nominated Patricia Delgado and Justin Peck), versatile and elegant set design (Tony-nominated Arnulfo Maldonado) and a tight compelling book by Tony-nominated Marco Ramirez.  The result: the Buena Vista Social Club creates a cultural collage of the Afro-Cuban experience that explodes with color, movement to the tune of the world’s most iconic tropical music. 

The historic ensemble consist of Julio Monge as Compay, Mel Semé as Ibrahim, Jainardo Batista Sterling as Ruben, Isa Antonetti as Young Omara, Renesito Avich as Eliades, Ashley De La Rosa as Young Haydee, with Angélica Beliard, Carlos Falú, Héctor Juan Maisonet, Ilda Mason, Marielys Molina, and Anthony Santos in the ensemble.  

Recreating the sound that launched a thousand fiestas are the virtuosos Marco Paguia (conductor & piano), Henry Paz (woodwinds), Jesus Ricardo (trumpet), Eddie Venegas (trombone), Javier Diaz (percussion), Roman Diaz (percussion), David Oquendo (guitar), Resesito Avich (tres chordophone guitar) and Gustavo Schwartz (bass). 

How good is Buena Vista Social Club?  You don’t need to be a Cuban music aficionado or even understand Spanish to be swept away by the transporting beat of the 12-member onstage orchestra accompanying the gifted singing cast and the three dancing couples that so beautifully interpret the music in a mix of dance styles from Afro-Cuban to ballroom. This reviewer was enthralled by how organically the stories, songs and dance all supported each other in a seamless exploration of how artistic expression can help keep alive the soul of a people in crisis.  And amid the hoots and bravos from the entranced audience swaying in their seats, you will have no other choice but to be also swept away by the celebration of life on stage. I recommend that everyone see the Buena Vista Social Club on Broadway or by way of the national tour now preparing to bring to our world in crisis its healing message: the opposite of war is creation.  And the Buena Vista Social Club is a joyous, healing, creative masterpiece.

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Why are so many of the neuro-diverse community drawn to the arts? Perhaps it’s because their unique interaction with the world can often lead them to thinking “outside the box.”  Celebrating the truism that “everyone is beautiful in their own way,” the EPIC Players Theatre, New York’s Premiere Neurodiverse Theater Company, presents A Neuro-inclusive 90’s Cabaret || Featuring *Special Broadway Guests! on November 12, 2024 at 8:30pm (Doors at 7pm) at Catalina Bar & Grill, 6725 W. Sunset Blvd., LA. Tickets are $35 / $55 (exclusive of service fee) with a dinner or 2 drink minimum, per person. 

Get ready to relive the “fly” 90s in style with EPIC Players’ Neuro-inclusive 90s Cabaret! Join them for a night of “fat and funky” hits and performances that will be “all that and a bag of chips” as this ensemble of neurodivergent artists share the stage with special Broadway guests. This one-of-a-kind cabaret blends  nostalgia with empowerment, showcasing the exciting talents of our inclusive theater company. Don’t miss out on a night of music and retro-fun all done to the “way cool” tunes of the 1990s!  (You remember the 90s: collecting Beanie-Babies, wearing fanny-packs, playing Hungry Hungry Hippos, consulting your mood ring and listening to Britney!  Britney!  Britney!)  

The EPIC Players Cast that will “hit you, baby, one more time” includes: Garrett Lees, Red Rosenberg, Devin Morrissey (Love on the Spectrum), Verity Van Dams, Harry Schantz, Amanda Castrillo, Ana Sharp, Rebecca Faith Quinn, Dovia Charles, Bowe Avery, Nayeli Benitez, Alexandra Tamplin, George Steeves, Michelle Jace, Jacki Jing, Bella Zoe Martinez, Abbey Romeo (Love on the Spectrum), Jack Lea and Lex Levy. 

All tickets can be purchased online HERE

With “fresh” musical direction by Casey Comstock-Mills assisted by Donovan Woods this “hella wicked” production is made possible in part with the support of The Hoffman Charitable Trust – and that’s a trust you can trust. “Well, duh! “ 

So put on your “bling” and see this sure-to-be unforgettable event, as one fan raved, “I have such positive experiences at the EPIC shows that it is hard for me to put into words how much I love them! First, everything is done on a top-notch level. The enthusiasm of the actors is inspiring. They deliver their performances with such dedication!. . . . I think EPIC is very unique and I appreciate that it gives free classes and opportunities to the neuro-diverse community and not only brings awareness, but a truly enjoyable experience. I used to look forward to my favorite director’s films, but now I look forward to EPIC Players.” 

EPIC Players (Empower, Perform, Include, Create), founded on August 25, 2016, is a nonprofit, neuro-diverse theatre company dedicated to creating professional performing arts opportunities and supportive social communities in the arts for Neurodivergent and Disabled artists. Via inclusive mainstage productions, musical cabarets, original showcases, skills-based classes and career resources, we hope to increase critical employment opportunities, pioneer increased inclusion in the arts, and break down social stigmas surrounding neuro-diverse communities.

Beyond a “rad” night of talented performers, EPIC’s  A Neuro-inclusive 90’s Cabaret will shine a spotlight on our unifying love of music – especially those tasty tunes of the 90s that were “da bomb!”  

For more information, visit https://www.epicplayersnyc.org

Good Morning America visits EPIC players: CLICK HERE

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I just couldn’t say farewell to Hispanic Heritage Month without giving props to a man whose name and impressive credits I’ve noted in so many Playbill Magazines: Mr. Michael Balderrama. 

Of Mexican heritage, Michael Balderrama is one of theater’s most prolific choreographers. An artist whose abundant talents can presently be seen in the mega-hit bio-musical, MJ – based on the life of the enigmatic “King of Pop”: Michael Jackson. And that’s not Balderrama’s only show-biz gig.  The busy actor/dancer also serves as the Global Choreographer for The Great White Way’s other mega-hit, Hamilton.  This assignement has him traveling the world, maintaining the high performance standards of the many companies that have kept the revolutionary Hamilton selling out in Chicago, London, Hamburg, Ireland and Australia.   

And as if working on MJ and Hamilton weren’t impressive enough, Balderrama has also performed and/or choreographed for Lin-Manuel Miranda’s In the Heights (where he played the title role as Usnavi), Billy Joel and Twyla Tharp’s dance masterpiece, Movin’ Out, and was featured in three big budget film-to-stage musical adaptations: Ghost, Saturday Night Fever and Unban Cowboy.  Balderrama has a number of big shows under his belt – and rightfully so. 

Whether performing or choreographing, Balderrama is always a standout. He has received unanimous praise, including a the 2022 Drama Desk Award in Choreography, for MJ. And you don’t have to look too far to understand why Tony Award-winning director/choreographer Christopher Weeldon chose Balderrama as his assistant choreographer, to bring the long awaited MJ The Musical to the stage.  The reason: Balderrama is an inspired story teller when it comes to movement. And he’s filled Jackson’s life story with classic moves from the era along with an expanded dance vocabulary that helps the audience understand the artistically extraordinary journey “the gloved one”.

The musical’s book by the Pulitzer Prize-winning author, Lynn Nottage, is set in 1992 during rehearsals for Jackson’s Dangerous World Tour.  The plot skillfully navigates the public relations time-bomb that’s about to upend Jackson’s non-stop skyward trajectory. The two-act extravaganza incorporates Jackson’s signature moves along with Balderrama and Wheeldon’s new movement resulting in the one of the most thrilling dance shows ever presented on an American stage. I’ve seen MJ four times and always discover something new in the nuanced, explosive choreography. When it comes to MJ, I can’t stop, can’t get enough. 

It’s serendipitous that Balderrama should be part of MJ, because it was Michael Jackson himself who hired Balderrama for his first real dance job  in his extended song “Ghost“. Of working on MJ, Balderrama says the show, “… reminds us of not only the incredible talent and the incredible gift of music that he gave the world but (also) the world he had to navigate in order to make that happen. I think the show hits the mark where it celebrates his work and reminds us of the incredible talent, his incredible creativity, his uniqueness, while at the same time it’s not just a love letter. You know, we’re speaking about a human and an artist that struggled with difficulties.”

A dedicated artist to the core, Balderrama truly understands MJ’s perfectionism as Balderrama’s dances are perfectly shaped throughout the hit-packed evening featuring “Beat It,” “Don’t Stop ‘Til You Get Enough,” “Dancing Machine,” “Wanna Be Startin’ Somethin,’” “They Don’t Care About Us,” “Billie Jean,” “Can You Feel It,” “Human Nature,” “Bad,” “The Man in the Mirror” – and volumes more. But there are two standout numbers where Balderrama helped create a pair of peak choreographic moments: “Smooth Criminal” and “Thriller.”  “Smooth Criminal” is set up by a short prologue where the character of Michael Jackson introduces us to the dancers who most influenced his style: the slick Bob Fosse, the elegant Fred Astaire and the dynamic Nicholas Brothers.  What starts out as a slow narrative explodes into the frenetic and mesmerizing “Smooth Criminal.”  That number alone is worth the price of admission.  Then, in “Thriller” (spoiler alert), plot and movement brilliantly intersect when MJ’s strict father, who both forged and terrorized the young Jackson, evolves into a literal monster haunting Michael’s memories.  This perfect melding of story into dance is the 11 o’clock number that takes us to the end of the show by allowing us to enter into Michael’s sometimes tortured, always creative soul.  “Thriller” leads us to understand both what might have driven MJ to superstardom and what may have stunted his emotional growth that led to the allegations that would haunt Jackson until his untimely demise. 

For the aforementioned and so many more reasons, I recommend MJ The Musical to the world!  You’ll hear some of the pop’s greatest tunes danced to Michael Balderrama’s glorious tribute to Michael Jackson’s immortal dance legacy. 

Check out tickets and more information: www.mjthemusical.com

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Newyorican playwright, Kristoffer Diaz was chosen by musical legend Alicia Keys to pen the book to her long awaited semi-autobiographical musical Hell’s Kitchen. For over ten years, the two collaborated on perfecting the story, that since its Broadway opening in April of 2024, has been playing to sold-out houses.  Earning thirteen Tony Award nominations – including one for Mr. Diaz – the success of Hell’s Kitchen is due in great part to his skillful shaping of Keys’ musical catalogue into a dramatic tale of how an artist is forged by pain, courage, talent and love. 

We caught up with the talented Mr. Diaz to discuss the agony and ecstasy of creating a new book to a musical, what it’s like collaborating with a superstar, and why creatives have to find their unique voice. 

Cris Franco (CF):  Hi, Kristoffer!  Congratulations on the success of Hell’s Kitchen. You did a seemless job of sculpting Ms. Keys’ music into a powerful story. The play flows beautifully. Can you tell me about how your beginnings led to you becoming a playwright?

Kristoffer Diaz (KD): I grew up in Yonkers, which is just outside of New York City.

CF: Yes, I know. I’ve seen Hello, Dolly! 

KD: (Laughing) It’s a little different than it was back in the Hello, Dolly! days. 

CF: I’m glad to hear that. There were no people of color there back then.

KD: True. Yonkers now has a huge Black and Latino population. I grew up on the north side. But my family’s from all over New York City. My mom’s from the Bronx. My dad’s from Brooklyn and Manhattan. We’re Puerto Rican but I identify as a Newyorican.  

CF: Newyorican is a very specific ethnicity. 

KD: Absolutely. My parents were both born in New York.  My grandfather and his generation immigrated when he was 15-years-old. So, we’ve been in New York forever.  My mom worked in the city and grew up a theater fan. She took me to see Broadway as a kid, so I’ve always had theater in my life.  But theater as a career wasn’t on my radar until I got to high school. I had always been an athlete — a baseball player more than anything. Then, one day, I auditioned for the school show and I got in.  Then I got into another show. And there I found my community. And I continued doing theater in college.  Then I discovered John Leguizamo who was telling stories about people like me.  And everything changed from there.  I went to NYU and began writing.

CF: When did you write your signature satire The Elaborate Entrance of Chad Deity?  Which is a comment on racism, politics and machismo — all set the raucous world of lucha libre. I caught the Los Angeles run at the Geffen Theater and knew that a fearless and inventive mind had conceived it. It was explosively entertaining. More than a play, it was an event.  

KD: We had a really great time with it.  One of our original actors in Chicago and New York, Christian Litke, really made a meal of interacting with the spectators. He would pick-up audience members and curl them.  Joan Rivers came to see it in New York and he had her stand and rub her hands all over his body.  The audience loved it – and she loved it! 

CF: Chad Deity has had lots of productions and won you many awards including The National Latino Playwriting Award (2008), The Obie Award (2011), NY Times Outstanding Playwriting Award (2011) and a Pulitzer Prize for Drama nomination (2010).  But how did a play about wrestling lead you to Alicia Keys? 

KD: Not long after that L. A. production I got an email from my agent stating that he was going to set up a meeting for me with Alicia Keys. Which was a fun email to get. 

CF:  And you had never met her before?

KD:  No. When you have a property playing that’s in the public eye, you get a lot of emails about a meeting with this person or that person. But getting a message like this one – I was like, yes!  This is fantastic. I’d been listening to her music for years.  We met and Alicia said that she had an idea for a musical based somewhat on her life. She did have some specific ideas and wanted to meet with writers. I was close to her age and we shared a lot of the same reference points and sensibilities. We talked about classical music, hip-hop, New York City and we just hit it off. I got hired and we spent a few years just the two of us trying to develop something.  We brought in a director Michael Greif and presented it to the Public Theater.  

CF:  I know that the story is semi-autobiographical. But how different is the musical’s plot from Alicia’s actual history? 

KD: There are many departures from her real life because you don’t want to be stuck in facts.  Alicia and I like to say that the show is emotionally true — the songs and story are drawn from her life. Plus, creatively, you need to have some distance because not all the songs are sung by “Ali” (the character based on Alicia) some are sung by the characters portraying her mom or her dad. So, I got permission early on from Alicia to write with broad strokes to maximize our dramatic potential. 

CF: I know that Ms. Keys wrote original songs. How did you approach her with the idea that a certain moment needed new material?

KD: It was an ongoing process between our team: Alicia, Michael Greif, our musical director Adam Blackstone and myself.  We all knew that new music would be required and Alicia was ready to write it. But that was after we thoroughly studied her existing music library – trying to figure out what story we could craft from it. 

We knew we wanted to incorporate Empire State of Mind, Girl on Fire, Fallen and You Don’t Know My Name because these are some of her most beloved pop songs.  But not all of Alicia’s best known compositions told a story – specifically the story we were developing.  So, we listened to some of her lesser-known work and Michael and I really liked Work on It and Pawn It All.  There was something about them that we felt could support a narrative. Now Pawn It All is one of the show’s most exciting numbers. Shoshana Bean (who plays Ali’s mother) sings it and she tears down the house down every single night. 

CF: She definitely killed it the night I saw the show. 

KD: There were a few spots where we needed a song to express an emotion or moment that wasn’t in Alicia’s songbook. We’d chat about it and in a few cases Alicia was already working on something that could possibly work. So, she’d bring it in and we’d work it into the story.  But, in some cases, after we’d tried a few songs, we’d realize that Alicia was just going to have to create something new to handle a specific storytelling moment. That’s how the song 17 sung by Shoshana Bean came to be.  It’s the first real theater songs that Alicia has ever written and it’s great.  

CF: Sounds like an exciting process.  How did the musical change over the time?  Meaning what you started out with versus what is being seen on Broadway?

KD: Great question. You know, we started out, not really sure what we were going to do.  We thought it would be a love story, because musicals often revolve around love. And much of Alicia’s catalogue are, in a way, love songs.  But early on Alicia knew that it was more about a moment of change and growth in her life.  We realized that it was a coming-of-age story. And when we brought in Michael and showed him what we’d written, his analysis was this it was, indeed, a love story – but between a mother and daughter.  How a daughter grew to appreciate all the hard work that her domineering mom had done on her behalf. And that was the big change from the early drafts to the final version.  So, we pulled back the love story and created a messy love story between the mom and the dad. 

What we didn’t suspect was how powerful the character of Miss Liza Jane (Ali’s teacher) would become. But once Kecia Lewis was cast in the role, she made the teacher’s character so powerful that all the relationships began falling into place.  Plus, once Miss Liza complicated Ali’s relationship with her mother, everything became deeper and stronger.

CF: Bravo!  That was a brave choice to not fall into the musical boy-meets-girl trope and taking Ali’s character arc into a more challenging, more real, meaningful place. I really enjoyed the journey. Both Maleah Joi Moon (Ali) and Kecia Lewis (Miss Liza Jane)  won the Tony Awards for Lead Actress and Featured Actress in a Musical respectively.  And I think a lot of it has to do with the how authentically you wrote their characters. From the second she walked on-stage, I was enthralled with Ms. Moon.  She is quite a discovery. 

KD: Yeah. She’s pretty magical and it’s a hard, complicated role.  I mean where are you going to find someone that young who can evoke all that is Alicia Keys – but still also be completely herself. Maleah does that.  She was a gift to us.

CF: And how has it been working so closely with an artist as recognized as Alicia Keys?  

KD: She’s my sister now.  We’re super close. When we started this project, Alicia was pregnant and I think me and my wife had just had our first son. Today we both have two kids. So, we’ve both went through a lot together while we were developing the show. 

Alicia is a musical genius. She was a child prodigy and she just continues to learn and grow. She’s an incredible businesswoman and she’s good people, I just like being around her. She was a wonderful collaborator.  And I never felt any power dynamics. We were both out to remain true to our art and ourselves. I feel honored to have been part of her career and to have made this thing together with her.

CF: Your show is selling out on Broadway, so I think your “thing” is going to be around for a long time.  I know you’re currently a playwrighting teacher at NYU (New York University), right? 

KD: Yeah, NYC is where I did both my undergrad and my first Master’s Degree. So, I’m back where I first came of age creatively. I’ve been teaching since I left grad school. First at an after school program and then at El Puente Academy for Peace and Justice in South Williamsburg, Brooklyn.  It’s a school with a real interest in social activism through the arts – which is deeply connected to my sense of social responsibility to community.  That is such a big part of what we want to communicate in Hell’s Kitchen.  That we have to reach to our younger generations, get them to listen to their ancestors, to understand their history. Art is a gift and I take it really seriously. 

CF: As a successful writer and arts educator, what advice would you give to a young aspiring playwright?

KD: Oh man.  It’s a hard business. I’ll say that it’s about understanding the art form – and more importantly —  putting a finger on the thing that you do that nobody else can do. When I started writing, I thought that I had to write plays that looked and felt like what I had been taught in school. Those plays where the characters sit on a couch, drinking wine revealing  family secrets.  Then I saw John Leguizamo’s work and he was just putting real folks on stage talking about everyday stuff.  And I thought, hey, I could write about what interested me like hip-hop or wrestling.

CF: I’m into lucha libre, too: the good guys, the bag guys, the rivalries – it’s all so melodramatic. It’s like a telenovela for men.  One last question. Do you feel that being a latino has impacted your career?

KD: Absolutely. How could it not?  In my early days, I felt it would hold me back.  I don’t speak Spanish and my work is not bilingual so I was always concerned that my work wouldn’t be, um, Latino enough. But the Latino theater community have been very, very, very, very, very, very, very good to me over the last 25 years. And not just producing my plays. Many great artists have reached out to me – offered me guidance, recommended me for jobs.  John Leguizamo was the first person to contact me on the morning of my Tony Award nomination (Best Book of a Musical for Hell’s Kitchen). He texted me that he was proud of me. I also know Lin Manuel Miranda and it’s more than just because we share the same ethnicity, it’s about being part of a theatrical family. Being Latino is my cultural identity and I couldn’t be happier about being part of that community. 

To experience the exciting and heartfelt dialogue of Kristoffer Diaz dramatically framing the thrilling musical compositions of Alicia Keys, log onto: https://hellskitchen.com

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The story which spawned the film of the same name starring Ryan Gosling and Rachel McAdams has enjoyed cult status since its 2004 release.  The romantic drama chronicles the decades-long love affair between lower-class mill worker Noah Calhoun and heiress Allie Hamilton.  They are star-crossed soul mates whom, it appears, the universe has conspired to keep apart. But distance makes their hearts grow fonder and – of course — true love conquers all!  This well-worn trope of boy-meets girl, boy-loses-girl, boy-gets-girl should render The Notebook predictable, melodramatic and, dare I say it?! Sappy. It is anything but.  

For the play’s energizing score (music and lyrics, Ingrid Michaelson) and fresh dialogue (Tony-nominated book writer Bekah Brunstetter) breathes life into each scene of this passionate evening of musical theater. To further draw us into the play, the lovers are played by three couples: Older Allie & Noah, Middle Allie & Noah and Younger Allie & Noah. This triple casting allows us to track the many stages of life as seen through the lens of their love. We realize that although the years may age our bodies, it is our enduring affection for each other that transcends time and keeps us forever young.  

The story engages your heart from the outset when we meet Older Noah (played to perfection by Tony nominated Dorian Harewood) who is at a nursing home visiting Older Allie (the radiant, Tony nominated Mariann Plunkett) whose severe dementia has caused her to forget him. He’s there to read to her the notebook (diary) she wrote documenting their lives together in hopes it will trigger a memory that will help her recognize Noah. 

As the story cuts back and forth from their young romance and break-up, to their tumultuous estrangement, to their ultimate reunion, the cast masterfully contribute each of their individual pieces that ultimately come together to form a vibrant collage of their lives. We see the many highs and lows that will try to topple their devotion, but instead, forge their love and lead them to emerge all the stronger for it.  Songs are woven in and out of the story taking us into their deepest emotions, doubts and ultimately fulfilled wishes when Older Allie finally recognizes Older Noah – if only long enough for a final kiss.  The musical’s unabashed romance and sheer emotional honesty result in The Notebook being an astounding journey into the human heart that, frankly, left me sobbing with joy.   

John Cardoza (whose credits include Jagged Little Pill and Moulin Rouge!) plays Young Noah with a youthful exuberance and vulnerability that believably sets his character on the long road to finding true love. It is Young Noah that believes in the couple’s viability and Cardoza delivers his relentless pursuit of Allie with full throated abandon – his is a crystalline singing voice that lets you know you’re in the presence of an up-and-coming Broadway leading man. 

Equally engaging as Middle Noah is Ryan Vasquez (whose credits include Hamilton, Waitress and In the Heights). The dashing Vasquez plays Noah during his most conflicted stage.  With a commanding presence and gorgeous lyrical baritone that can cause the listener to experience what I call an “eargasm,” Vasquez’s Middle Noah remains certain that Allie is his destiny. But life has other plans, and he’s destroyed when he loses contact with her for years. He’s joined the armed forces but fulfills his promise to her of writing her every day. But his letters are intercepted and kept secret by her mother who planned on her daughter wedding the more auspicious suiter Lon, played by the elegant Chase del Rey.

Chase del Rey (whose credits include A Little Night Music and the Oscar nominated film King Richard) subtly plays the confident groom-to-be who is ready to commit to Allie, unaware that she has rekindled her romance with Noah.  His is a painful realization which will leave him standing at the altar wondering if he’ll ever recover from so devastating a heartbreak. Though Mr. del Rey’s character Lon is a secondary character, he makes an impression every second he’s on stage and leaves us with a full understanding of the price paid by those who lose at love. Chase also demonstrates his astounding vocal prowess at show’s end when the entire cast so gloriously wraps up the evening’s life-affirming saga.

As I stated at the top of this article, it was thrilling to see three talented young performers so vividly bring their gifts together to weave the tapestry of life and love titled The Notebook, the musical. It’s extraordinary to watch multiple actors share a role and witness how each helps their character evolve before our eyes. 

Never having read the novel nor seen the very popular film, I did not know what to expect from The Notebook. I assumed it would be a gushy chick-flick musical, so sugary it would send me into diabetic shock. On the contrary I emerged from the Shoenfeld Theater feeling rejuvenated; my belief in life affirmed by truth and renewed by this tale of love. 

To experience The Notebook, CLICK HERE

Broadway Production Photos by Julieta Cervantes

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Reviewed by Cris Franco

Though national audiences got to know the very dynamic Ms. Lily Santiago when her character, the ridged, secretive Veronica, fell through the sinkhole in NBC’s hit drama LA Brea, her roots have long been in the legitimate theater. Ms. Santiago honed her craft via numerous classical theater companies performing in Shakespeare’s most demanding works including Romeo and Juliet, Othello, Measure for Measure and Red Bull Theater’s acclaimed all-female Macbeth. Santiago, who graduated from the theater program at Northwestern University as well as LaGuardia High School of Music & Art and Performing Arts, has always had her eyes set on the stage.

That’s why it’s no surprise that Lily delivers no less than two riveting performances (portraying both Kat and Amelia) alongside Academy Award-nominated Rachel McAdams (Spotlight, 2015) in Amy Herzog’s brutally heartbreaking, yet divinely uplifting new drama Mary Jane, directed by Anne Kauffman and running at New York City’s Samuel J. Friedman Theater thru June 30, 2024. 

Mary Jane, which has received four 2024 Tony Award nominations including Best New Play, employs an entirely female cast to tell the tale of the title character’s caregiving for her severely disabled two-and-a-half year-old son, Alex. Though we never see the child, Mary Jane’s small but mighty army of caregivers take us on a journey to understanding that caring for one another is humankind at its best. Making her Broadway debut, Lily Santiago powerfully plays two pivotal characters in Mary Jane’s community of caregivers: the sensitive in-home nurse Amelia and the upbeat (if somewhat evasive) music therapist Kat.  

The all-female ensemble reflects the reality that caregiving isn’t a job, it’s a vocation. A vocation most often answered by women, especially women of color. A universal tale of a mother’s eternal love, it’s a gripping evening of theater where Ms. Santiago serves as the life-saving net ever poised to catch McAdams as she gracefully walks the emotional highwire of a young mother full of hope and forgiveness in an unforgivingly hopeless situation.  Their performances are both emotionally shattering and life affirming. 

Set in a reality always teetering between life and death, this writer was most taken by how Ms. Santiago was able to play the tense dramatic moments alongside the mundane, day-to-day tasks of caregiving with ease but urgency. 

The entire cast delivers powerhouse performances by underplaying the plot’s searing reality: Alex could expire at any moment.  We witness that the ladies’ caregiving goes beyond the sick boy, into caring for one another – providing the emotional support for each other to carry on in their uncertain world.  The story’s parallels are powerful: we are all Alex, for no one is promised tomorrow. Mary Jane and her co-caregivers go about their duties without dwelling on the inevitable, they subtly inhabit the unfolding drama like a child’s cherished music box, slowly playing out its end.  Mary Jane is almost magical in how it guides us into realizing the preciousness and precariousness of our very existence. I was mesmerized. This is a great new play.  

Ms. Santiago recounts her initial reaction upon learning that she’d been cast saying, “I was shaking in my boots because I just love this play. It was one of the most incredible pieces of theater that I’ve ever read. The way Amy (Herzog) fills these characters with such life and humanity. It’s so moving to me.”

And what does she feel about the play now? “I stare at myself in mirror every day and tell myself that I must accept that this is huge and awesome!”And it certainly is. 

To see the talented Lily Santiago deliver two amazing performances alongside the riveting Tony-nominated Rachel McAdams, CLICK HERE

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