Vinícius Costa da Silva never planned to become opera’s favorite dark presence. Offstage, he’s warm, joyful, quick to  laugh. Onstage, the 6’3″, curly-bearded Brazilian commands priests, rogues, and powerful men  with effortless authority. That contrast — sunlight personality, shadow roles — is part of the  intrigue. And so, Brazil’s 2026 winning streak continues with a São Paulo native commanding the stage at LA Opera’s epic production of Akhnaten direccted by Philip Glass.

Costa’s journey from São Paulo’s working-class East Zone to LA Opera feels like destiny with a  strong assist from grit. The path wasn’t linear. It rarely is. 

Like many musicians, it began with curiosity. Costa was first drawn to the “funny-looking”  French horn, fascinated by its shape. The real turning point happened somewhere far less  glamorous — a school restroom. A classmate overheard him singing and told the choir master,  “He can sing!” Costa was suddenly doing solos. 

“Back then, I was just a curious kid trying different things. But after I sang for the choir master,  that’s when I found my true voice.” Support followed — slowly, then fully. 

“I had a very good family: my mom Marina Costa, brother Pedro were big supporters and my  father Zorandir Ramos — after a while when he realized that I could make some beautiful sound,  he got courage enough to come and listen to me then he started supporting me also.” 

From choir boy to opera stages, Costa’s trajectory reads like a sequence of doors opening — each earned. Mentors guided him from Brazil to Basel, where he completed bachelor, master’s  and post-master’s degrees, before arriving at LA Opera’s Domingo-Colburn-Stein Young Artist  Program. Akhnaten marks his fifth LA Opera role — with more ahead. 

Two early figures remain foundational: Maria Lúcia Waldow and retired baritone-turned-teacher Francisco Campos. 

“I treat them like Sensei,” Costa says, recalling lessons after school and how Campos would feed  him when he arrived hungry. Waldow’s message was constant: discipline, standards, no  shortcuts. “She was always telling me you don’t sacrifice quality!”  And: “You have to practice — a lot!” 

Costa smiles. “They not only taught me to sing but taught me what it means to be a  professional.” 

That seriousness toward craft defines him. Costa doesn’t approach roles technically — he  approaches them anthropologically. Languages, history, psychology — all part of the  preparation. German, French, Italian, Spanish, English — and the cultural codes behind them.

“Opera isn’t just about hitting the right notes — it’s about understanding the meaning behind the  words,” Costa said. “When I sing in a new language, I dive deep into its culture. I watch films,  listen to native speakers, to immerse myself as much as possible. I want to give the character the  depth it deserves.”  It shows. 

Whether as Aye in Akhnaten — father of Nefertiti and advisor to the Pharaoh — the Duke in Roméo et Juliette, or the Speaker in The Magic Flute, Costa specializes in dimensional authority.  Villains with interior life. Power with psychology. 

“The bass is often the villain, but I don’t play him as just evil. I try to find what makes him tick,  what makes him real.” 

Offstage, the intensity softens. Costa remains disarmingly grounded — curious, hardworking,  visibly grateful. The Young Artist Program at LA Opera plays a major role in that evolution. 

“LA Opera has been an amazing place to grow,” he says. “Everyone here does their job at such a  high level, and we’re treated with so much respect. It’s a place where artists are encouraged to be  their best, but they also feel supported. It’s been the perfect environment to learn and improve.” 

And yet, the perspective remains intact. 

“I never expected to be here,” Costa says. “I grew up in a place where classical music was rare.  But thanks to opportunities like the Guri Santa Marcelina program, which brought music into  communities that lacked access, I was able to find my path. Music was never ‘supposed’ to be a  part of my life, but now it’s everything.” 

Representation matters — and Costa understands the symbolism. 

“I’m incredibly proud to represent my country. Brazilian culture is rich, vibrant, and full of heart,  and I feel like the world is finally recognizing it.” 

The next chapter is already unfolding. This season includes Falstaff, one of his favorites. “It’s just so joyful, so playful, and it has some of the most beautiful music. I’ve always wanted to  be a part of it, and now I get to live that dream.” 

Looking ahead, Costa is drawn to roles with philosophical weight — darker edges, psychological  complexity, the devilish spectrum opera does so well.  Which brings us back to the title: Sweet Villainy. 

For Vinícius Costa da Silva, the tension between warmth and shadow isn’t a contradiction. It’s  the instrument. And LA Opera audiences are just beginning to hear its full range.

Akhnaten returns after 10 years to the Dorothy Chandler Pavilion, with performances running from February 28 to March 22, 2026. This revival features countertenor John Holiday in the title role and is conducted by Dalia Stasevska in her company debut

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“Arrive at the Gates” Column By Judi Jordan for Latin Heat

This year two of the IMAGEN Awards Best Actor in a TV Drama nominees, Pedro Pascal and Diego Luna, exemplify the IMAGEN Awards mission by portraying Latinos as layered, emotionally resonant figures at the heart of the global sci-fi phenomena. Pascal, as the grieving father tasked with protecting humanity’s last hope, and Luna, as the revolutionary mind behind a galaxy’s fight for freedom. Both prove beyond doubt their ability to anchor entire fictional universes with vulnerability and moral complexity —roles long reserved for others.

Despite their very different career paths, both have become the emotional core of massive franchises, bringing audiences around the world deeply nuanced and fully realized characters. They are themselves extensions of the best of their characters. Luna’s mantra “Cinema is a mirror that can change the world”; and Pedro’s consistent message to fans, “I Love You” emanate authentically from the personal journeys of these very different, gifted artists. 

Two of the most magnetic Latino talents in cinema now stand at the center of entertainment’s most passionate fandoms—sci-fi enthusiasts and gamers alike. Pascal and Luna’s paths to genre stardom reveal strikingly different trajectories that converge in their mastery of complex, morally ambiguous characters in beloved franchises.

Pascal’s journey embodies the classic late-bloomer narrative. Born in Chile and raised in California, he spent over two decades grinding through small television roles and theater work, always struggling financially while honing his craft. His breakthrough didn’t arrive until his mid-forties, when an introduction from steadfast friend Sarah Paulsen to David Benioff EP/Creator Game of Thrones landed him in his career-defining role as Oberyn Martell in this series. That explosive performance and dramatic death opened doors to Narcos, where he portrayed DEA agent Javier Peña, and eventually to the career-transforming role of Din Djarin in The Mandalorian. His latest TV triumph as Joel Miller in The Last of Us showcases an actor who learned patience and persistence, drawing on weathered authenticity for every role.

Luna’s path followed a more traditional arc of early success and sustained excellence. The Mexican actor burst onto the international scene at just twenty with Alejandro González Iñárritu’s Amores Perros, establishing himself as a formidable talent. His career has been marked by deliberate choices spanning Mexican cinema and Hollywood projects, from Y Tu Mamá También to Rogue One. In the title role of Andor, Luna brings gravitas and political complexity to Cassian Andor, crafting a revolutionary whose quiet intensity anchors Disney’s grittiest Star Wars series.

The contrast extends to their on-screen personas. Pascal’s Joel is a surrogate father figure hardened by apocalyptic loss, while Luna’s Cassian represents an idealistic rebellion gradually tempered by harsh realities. Pascal excels at emotional vulnerability beneath gruff exteriors; Luna masters contained intensity and moral ambiguity.

Both actors now navigate the uniquely demanding landscape of sci-fi and gaming fandoms—audiences notorious for their encyclopedic knowledge, fierce loyalties, and unforgiving standards for authenticity and character consistency. These hard-core fans scrutinize every detail, from source material fidelity to character motivations, making successful genre work both career-defining and career-threatening.

Yet their approaches to sci-fi stardom couldn’t be more different. Pascal has fully embraced his ascension to leading man status, particularly with his casting as Reed Richards in Marvel’s The Fantastic Four: First Steps. 

Initially skeptical about portraying the brilliant astrophysicist, Pascal has since thrown himself gleefully into promoting the MCU blockbuster with his characteristic warmth for fans and vulnerability with the media. Behind the confident, flirty, dancing persona lies profound vulnerability. 

In a revealing Vanity Fair interview, Pascal opened up about the heartbreak that has shaped him: his mother’s suicide when he was 24, which left him unable to celebrate birthdays for 25 years until he finally reclaimed his 50th with a multi-day celebration. “Fifty felt more vulnerable—much more vulnerable,” he admitted, describing the paradox of achieving maximum success while feeling most exposed.

Luna, by contrast, remains deliberately low-key despite his Andor acclaim. Even as executive producer of the series, he focuses on the craft rather than celebrity, consistently steering interviews toward storytelling and social issues rather than personal fame. He prefers characters with contradictions, explaining “I don’t like the moral approach of good and bad”. Luna maintains his commitment to Mexican cinema via his production company and carefully chosen international projects.

Their future trajectories reflect these contrasting philosophies. Pascal’s Marvel contract extends through Avengers: Doomsday and Secret Wars, cementing his place in Hollywood’s biggest franchise. 

Meanwhile, Luna continues balancing intimate directorial projects like Ceniza en la Boca with thriller Eleven Days, maintaining the artistic integrity that has defined his career since Y Tu Mamá También.  However, as Andor ends its two season run, Luna will be very busy promoting the much anticipated premiere of The Kiss of the Spider Woman in which Luna stars as Valentin a political prisoner alongside Tonatiuh (as Molina) and Jennifer Lopez (as Hollywood Diva) due to premiere October 10, 2025.

Pascal and Luna have not merely survived sci-fi scrutiny, they’ve earned reverence by bringing psychological depth to characters that could easily become one-dimensional. Their contrasting approaches—Pascal’s embrace of blockbuster stardom versus Luna’s measured artistic choices—prove that great genre acting requires the same commitment to truth and complexity as any dramatic role, perhaps more so given the passionate, discerning audiences watching every move.

The Imagen Awards will take place on August 22, 2025 at The Beverly Hilton. Tickets are still available HERE

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Written by Judi Jordan

The Imagen Awards was co-founded by legendary television producer and writer Norman Lear, who lived to the ripe age of 101, and passed in 2023. A deeply curious and humane person, Mr. Lear’s awareness of the void of positive portrayals of Latinos in the entertainment industry gave weight to the importance of positive Latino images. 

Norman Lear would be so proud of the 2025 nominees. His quest to see Latinos portrayed with respect and creativity is met in the ten categories including Drama, Comedy, Docs, Shorts and more. Helen Hernandez is the President & Founder of the Imagen Foundation who produces the Imagen Awards.

LATIN HEAT + IMAGEN  – Part One

The suave Latin devils of old Hollywood TV cliches have been replaced by a crop of intriguing, grown men with callings, consciences and inner conflicts. 

These new Drama Kings are dyslexic, intuitive, vulnerable (Will Trent/ Ramón Rodriguez) caring, conflicted, educated (The Cleaning Lady/Santiago Cabrera) regretful, emotive and resolute, (The Last of Us/Pedro Pascal) evolved, affable and effective, (Lincoln Lawyer/Manuel Garcia-Rulfo) and lonely, wary, idealistic (Andor/Diego Luna) These roles played to the talent’s dramatic strengths while offering exciting nuances that kept audiences tuning in weekly or binging – streamer contingent.  

Drama Kings – modern Latin Lovers are vulnerable, aspirational, responsible and gainfully-if sometimes painfully-employed. These seasoned IMAGEN-nominated men defy the tired one-dimensional stereotypes of heartless seducers, skeezy scammers and gun-happy cholos.

Established TV and film stars in uncommen roles wowed their fans with new facets of their talent and audiences approved. With resumes, personas and ‘chops’ that TV networks and streamer execs respect, TV showrunners craft episodes that highlight and challenge their characters’ strengths. 

Three seasons of Will Trent blew up the long, steady career of Ramón Rodriguez! Who knew he had 20+ film roles on his resume including G-20, Gang Related, Transformers? His memorable early TV work on The Wire 2002-2008 laid the foundation. By the time Will Trent arrived, Ramón Rodriguez, in the title role, was more than ready. His heartfelt, eccentric Southern detective is fascinating, never parodied. Will Trent, broken and brave feels embedded in his soul, but joy has crept into the series with dance numbers that lighten the storyline and a thoughtful, romantic storyline with Gina Rodriguez that fans loved.

An executive producer on the show, Rodriguez directed the exceptional Season 3 premiere episode and will direct again in Season 4. Deadline broke the story that Rodriguez recently signed a multi-year deal with 20^th Television, to develop and produce series and films for Disney, a fitting outcome for the gifted, dedicated multi-hyphenate. 

Santiago Cabrera is nominated for his dark turn as Jorge Sanchez, the highly-reluctant Harvard-educated drug cartel leader of the Sin Cara Cartel, in the gritty Fox/Hulu series The Cleaning Lady. Chilean-born Cabrera joined the show in seasons 3 and 4. Typically cast as the hero, female fans still swoon over his pitch-perfect portrayal of dashing, soulful Aramis in the 3-season BBC hit show Musketeers, now airing on Hulu. His 20-year working streak of good guy supporting and leads in Picard, Heroes, Merlin, Salvation, and prestige series romantic roles in Big Little Lies, Flight Attendant, Land of Women, and a kindly ghost Richard Deetz in Beetlejuice, Beetlejuice called for a change. 

Cabrera had resisted drug lord roles for years; but tempted by the premise, he used his discomfort – his very conflicted Jorge feels real. He admits, “It was fun to play the bad guy.” Audiences witnessed a very different Cabrera with a gun in his hand wading through cartel carnage as the ambiguous yet ambitious man with a plan that goes south by the hour. Not to mention a fraudulent marriage with Thony, a fearless Cambodian female doctor (played by Elodie Yung), who dissects bodies of cartel enemies in exchange for his protection. Plagued at every step by his obsessed sociopath sister Ramona (Kate de Castillo) for control of Sin Cara, Santiago’s Jorge is an idealist, out of his depth in the blood-soaked world.  

STAY TUNED.  NEXT UP: Sci-Fi Nominees

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Audible and Fresh Produce Media are bringing back The Big Lie with a new eight-part installment titled The Big Fix: A Jack Bergin Mystery. Created by John Mankiewicz and directed by Aaron Lipstadt, this gripping audio drama stars Jon Hamm as private investigator Jack Bergin, navigating corruption and displacement in 1950s Los Angeles. The new season debuts exclusively from Audible on Thursday, April 24.

This standalone story transports listeners back to 1957, where they’ll be reacquainted with Jack Bergin (Hamm), now L.A.’s hottest private investigator, who suddenly finds himself entangled in a web of power, corruption, and murder that reaches the highest levels of Los Angeles’ government and elite.

As Bergin investigates a brutal murder at the request of an old flame (De La Reguera), he uncovers a deadly conspiracy to forcefully evict a Mexican-American community to capitalize on the land around the Brooklyn Dodgers’ new home. Set in the aftermath of the real-life Chavez Ravine evictions – an oft-forgotten, dark moment in L.A. history with very real modern-day relevance – this timely audio drama from Audible and Fresh Produce will immerse listeners in the gritty underbelly of a city on the cusp of transformation, where the price of progress may be more than anyone is willing to pay. The cast includes returning stars La Reguera and John Slattery, alongside newcomers Alia Shawkat, Omar Epps, Taylor Zakhar Perez, among others.

“Returning to Jack Bergin’s world for The Big Fix has been an incredible experience, and collaborating once again with John Mankiewicz is truly a privilege,” said Hamm. “This season explores a pivotal yet often overlooked chapter in 1950s Los Angeles history, and I’m proud to be part of bringing it to light.”

“With The Big Fix, we’re diving deeper into a complicated period of American history, the Brooklyn Dodgers move to Los Angeles,” said Executive Producer Mankiewicz.

The series is written by Mankiewicz, Jamie Napoli, Daniel Pyne, Katie Pyne, and Aaron Lipstadt and executive produced by Mankiewicz, Jon Hamm, Alia Shawkat, Jason Ross, Colin Moore, Pyne, and Lipstadt.

Season one of The Big Lie is available on Audible, with The Big Fix premiering exclusively on Audible on April 24, 2025.

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Chiquis is a dynamic force in the entertainment industry who recently picked up her third GRAMMY. She is a businesswoman, entrepreneur, author, and media personality. The series will premiere in 2025 and is a 30-minute, six-episode unscripted limited docu-follow series. It is Executive Produced by Chiquis, Richard Bull, Sebastian Jimenez, and LatiNation Media’s Andres Palencia, and Bruno Seros Ulloa. Chiquis’ Busy Bee Productions produced the series with LatiNation Media.

In the 30-minute series Foodie on the Go, Chiquis embarks on epic road trips to uncover the country’s most unique and delicious eats. From 5-star restaurants to food trucks, neighborhood staples, and street food carts, each episode features Chiquis engaging with chefs and staff while savoring their creations. Chiquis’ natural charm brings out the rich stories behind the food and the vibrant personalities of the people who make it. With a passion for supporting small businesses, the series celebrates local entrepreneurs and their love for cooking and culinary creativity.

Chiquis’ journey to success is marked by remarkable achievements and a relentless drive to inspire and empower others. In 2024, Chiquis released her fifth studio album, Diamantes, which earned her a third Latin GRAMMY for Best Banda Music Album and a 2025 GRAMMY nomination for Best Música Mexicana Álbum.  Beyond music, she has her top-rated podcast, “Chiquis and Chill,” and a thriving social media presence, allowing Chiquis to continue to connect with millions of fans around the globe. In 2023, Chiquis expanded her reach by co-founding Busy Bee Productions alongside established industry professionals Sebastian Jimenez and Richard Bull. Committed to creating impactful and inclusive content, the company aims to amplify diverse voices and share authentic stories that resonate with audiences worldwide. Busy Bee Productions’ first project was the “Chiquis Sin Filtro” docu-series, which became VIX’s #1-rated show in the United States.

“I wanted to have Foodie on the Go be one of Busy Bee Productions’ first shows because I want people to know the story of who’s cooking the food and why, Chiquis explained. It’s one of my favorite parts of the show – getting inspired by the food, the culture, the crunch, the spice, and meeting the owners and staff. I love connecting with the culture through the dishes and the people making and serving the food.”

For his part Andres Palencia, CEO, LatiNation Media enthused, “Few things represent Latino culture better than our relationship with food. Foodie on the Go aligns perfectly with our mission to amplify content and culture created by Latinos for a multi-generational audience, and it’s infused with LatiNation’s sabor,” said . “We’re excited to showcase a different kind of food culture show, one that is uniquely Chiquis.”

“We are excited to have Chiquis as a part of the LatiNation Media family,” added Bruno Seros Ulloa, COO & President, LatiNation Media. “She embodies the fusion of dual cultures and heritage, and this show highlights the rich experiences and meaningful stories tied to food across the country. Watching her visit diverse locations on tour – and on camera – offers the ultimate road trip experience.”

LatiNation Media is a bilingual, multi-platform media company whose mission is to transform Latino representation in the modern media landscape by creating content that organically represents today’s Latino experience.

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There is power in numbers, and if that is so, with the new partnership between novela and film star Carlos Ponce, Brilla Media, Numatec, and Chicano Hollywood, who are launching Minivela, it is a power move in the right direction. Minvela is their digital shorts joint venture launching in January 2025 aimed to set in motion a bold new era for American Latino filmmakers, creators, and advertisers. The announcement was made at the 26th annual ANA Multicultural Marketing & Diversity Conference in Las Vegas earlier this week.

Minivela is an American Latino-owned and operated company dedicated to producing advertiser-supported digital shorts created by Latino filmmakers and creators with a target audience of primarily American Latinos ages 18-34. Initially the streaming content verticals will range from 10 to 90 minutes. A key pillar of Minivela’s approach is to catapult select narratives into independent features or series utilizing the innovative, adtech-powered approach.

“This is a groundbreaking journey that we believe will empower Latino storytellers and drive U.S. Hispanic digital advertising for years to come,” said Manny Ruiz, who serve as the Chief Creative Officer and Executive Producer of the joint venture alongside Ponce, who will also write and direct select Minivelas. ““Our focus is on consistently producing universally appealing stories with a vision that extends beyond Minivelas.  A key pillar of our innovative approach is to catapult select narratives into independent features or series.”

“When the Hollywood system is undergoing a much-needed reboot, Minivela represents a beacon of hope, experimentation, and opportunities for Latino creatives at a time” said Ponce.  Adding that the Latino-owned venture will address the representation gap for our community organically, and that our operations are driven by pioneers in Latino social media, digital media, and adtech.

The family-friendly digital films will be accessible free on Minivela’s YouTube, and social media channels, as well as thru adtech conglomerate, Numatec’s distribution partnerships.  Combined with Brilla Media’s Nuestro Media network, brand sponsors will be able to secure USH audiences effectively across digital, CTV, and other platforms.

 The West Coast production arm of the company and a cornerstone of Minivela is Chicano Hollywood, the influential L.A.-based production, media, and magazine company that produces the annual Elevate conference for Latino filmmakers.

Chicano Hollywood is already producing one of the platform’s early bets, a feel good romcom called “Cholita Takes L.A.” that is being directed by a rising Chicana director. Cholitas, Cholos, and Cholas shine in this story about a young Bolivian luchadora and aspiring fashion designer who journeys to L.A. to care for her ailing grandmother—only to discover she must also overcome culture clashes and personal challenges on her path to unexpected love.

“Minivela is putting deeds before words, and that’s something the Latino film community will root hard for, and why we’re a proud partner,” said Johnny Murrillo, founder and CEO of Chicano Hollywood.  “It’s also critical to note that for Minivela, the projects must be Latino-produced but the stories must appeal to audiences universally even outside our core Hispanic community.  We have some fun ones lined up!”

Angela Sustaita-Ruiz, chairwoman of Brilla Media, the parent company of Minivela, expands on the mission of the venture, “We’re going to push boundaries and prove that you can be creative and positively provocative without leaning on the usual violent drug dealers, and other tired tropes that diminish our community.”

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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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Eva Longoria attends Land of Women Red Carpet in New York

Actress/producer extraordinaire and USA Today Women of the Year, Eva Longoria was in New York City last week for the red carpet premiere of her Apple TV+ dramedy, Land of Women looking her usual fabulosa self.  She not only stars in the six episode Spanglish dramedy series, she is also an executive producer. 

Joining her on the red carpet were cast members Victoria Bazúa and Santiago Cabrera who plays the dreamy Amat. 

The series will make its global debut on Apple TV+ with the first two episodes on June 26, followed by a new episode every Wednesday through July 24.

 The cast is internationally stellar, with Carmen Maura (Women on the Verge of a Nervous Breakdown) playing Gala’s (Longoria) mom.  The Venezuelan born Cabrera (Big Little Lies) grew up in London, Romania and Madrid, while Bazúa, born in Mexico, makes her television debut.

Executive Produced By: Ramón Campos, Gema R. Neira, Carlos Sedes, Teresa Fernández-Valdés, Eva Longoria, Ben Spector and Sandra Condito.

Patricia Cardoso Joins the Prestigious AMPAS Board of Governors

 On June 1 the Academy of Motion Picture Arts and Sciences announced its newly elected 2024-2025 Board of Governors. Among the newly elected members was director Patricia Cardoso (Real Women Have Curves).  The Academy has 19 branches, each represented by three governors, Cardosa will be serving on the director branch.  The 55-person Board of Governors is responsible for the governance, corporate oversight, and strategic direction of the Academy. 

With these new additions, the 55-member Board now comprises 53% women and 27% belonging to an underrepresented racial or ethnic group.  

There are only two other Latinos on the Board of Governors, incumbents, director/producer Rodrigo Garcia, and costume designer Eduardo Castro.  Felicidades a todos!!

NHMC’s Impact Awards Among the Celebrated

A couple of weeks ago June 14th at the National Hispanic Media Coalition Impact Awards Gala celebrated NHMC and this year’s amazing honorees who are making a positive impact for the Latine community. Co-hosted by actress/producer and artivista Annie Gonzalez (Jenni, Flamin’ Hot) and actress, writer, and producer Mayan Lopez (Lopez vs. Lopez).

President and CEO, Brenda Victoria Castillo is pictured here with the 2024 Impact Awards Gala Honorees.

_{From left to right: Fede Alvarez, Samuel Harowitz, Harvey Guillén, Brenda Castillo, Larry Freedman, Emmy Raver-Lampman, David Castañeda, Issa López, Tatyana Ali, and Alonso Carrillo  (Photo Alberto Rodriguez, Getty Images)}

Artivist Representing at the International Labour Organization

This past week she invited Latina Artivists Annie Gonzalez (Flamin’ Hot), Maria Diana Riva (Dead to Me) (Grey’s Anatomy, The Baker & The Beauty) and Lisa Vidal  joined Monica Ramirez, Founder & President of Justice for Migrant Women at the 5-year anniversary of the International Labour Organization adopting the first ever international treaty to address gender-based violence and harassment in the world of work (C190).Monica Ramirez is a force. She is also co-founder of Alianza Nacional de Campesinas, The Latinx House and Poderistas. She is dedicated to ending gender based violence in the workplace and achieving gender equity.

Gaytino! Made in America Screening at La Plaza de Cultura Y Artes in Los Angeles

Dan Guerrero’s documentary Gaytino! Made in America screened this past Saturday, we enjoyed a wonderful evening at the screening.

Dignitaries like labor activist Dolores Huerta, renowned artist Barbara Carrasco were in attendance, to celebrate the cultural history Guerrero shared through his very important and entertaining documentary.

Guerrero shared never-before-heard stories about his journey as a producer, screenwriter, theatrical agent and his path to self-acceptance as a gay Chicano.  Dan is a LatinoWood community treasure.

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In the upcoming season, a death in Ecomoda compels Betty to make amends with her former coworkers and with her separated but still married husband, Armando. Additionally, she meets up with her daughter Mila again; Mila has been studying fashion in New York and comes back wanting to work in Hugo’s studio. Betty will have to mend fences with Armando, who would stop at nothing to gain her back, and decide whether to make critical decisions that will affect her profession in addition to trying to mend her connection with her daughter.

The plot and show are a celebration of women’s emancipation. A quarter of a century ago, when Betty was initially shown to the public, there was debate over what constitutes beauty. “Betty” came to symbolize the underdog who dared to dream and challenge the standards of beauty throughout its growth and numerous iterations.

The series reunites the lead actors Ana María Orozco and Jorge Enrique Abello from the original series that ran from 1991 – 2001. They reprise their roles of Betty and Armando Mendoza Sánez respectively. Other cast members include along Julián Arango, Natalia Ramírez, Lorna Cepeda, Julio Cesar Herrera, and Luces Velásquez, who are just a handful of the large cast. bringing this series back to life.

“We at Prime Video are honored to be resurrecting this legendary series about the courage and tenacity of women who want to break stereotypes in the workplace and in their personal lives,” stated Maria Isabel Figueroa, Head of Prime Video Emerging LATAM. This series pays homage to those tales that transcend boundaries and unite people because Betty has found a home with viewers everywhere.

Yo soy Betty, la Fea, which has been dubbed into 15 languages and broadcast in 180 countries, is regarded by Guinness World Records as the most successful telenovela in history. It has also been adapted into up to 28 territories, including South Africa, the United States, and India.

Visit About Amazon for more information on how to watch Betty La Fea when it premieres in July.

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