By Cris Franco
From November 9 to December 12 of 2021, the Pasadena Playhouse will rock to the Go-Go’s fun-tastic musical Head Over Heels featuring two of Broadway’s busiest stage talents, George Salazar (Be More Chill, Godspell, Little Shop of Horrors) and Yurel Echezarreta (Moulin Rouge!, Aladdin, Matilda and Steven Spielberg’s new filmed version of West Side Story). I was privileged to interview both of these impressive artists who had plenty to say about ethnicity, career and Cheetos breath.
CRIS FRANCO (CF):
To begin with, George, fill us in on your very unique background.
GEORGE SALAZAR (GS):
My dad was born in Ecuador and my mom is Filipino. They met in New York City, which is about the only place that could happen.
CF: If you can make it there, you can make it anywhere! ?
GS: Exactly, exactly. I was just in Indiana and I’ll tell you that wouldn’t happen there. There aren’t that many of me.
CF: Yes, I’d say you cornered the market on Ecuadorian-Filipino musical comedy stars. How ‘bout you, Yurel?
YUREL ECHEZARRETA (YE): I’m Cuban-American from Miami.
CF: You’re an outstanding dancer. You can tell you’ve trained in ballet.
YE: Yes. Ballet is so well-respected in Cuba. I studied and found myself at a performing arts high school where I was accepted into a musical theater program. Then I studied at Orlando Ballet and moved to New York to begin my Broadway career.
CF: You’ve both done so many hit shows. What would you say was your first big break?
GS: That’s a great question.
CF: I only ask great questions.
YE: I’m not sure I know what you mean by “big break”?
CF: Meaning, when did you know you could make a career of performing?
YE: Oh, for me that would have to be La Cage Aux Folles because it was my second Broadway show. The 2009 stage revival of West Side Story was my first Broadway show. You always wonder if being hired was a fluke. It’s easy to doubt yourself, especially at such a young age. But getting La Cage really bolstered my confidence because the dancing was so different from that of West Side Story. I knew I could do this. I’m not just a one-hit wonder. I belong here.
GS: Because I grew up in a multi-racial, multi-cultural household, with workaholic parents who wanted to give us the good life they never knew, my parents were really frugal. They saved to send me to college so I could become a doctor. That was the game plan. But I was the class clown who liked attention. I’d write and sing Weird Al Yankovic-style parodies in high school. One day the president of the drama club asked me to audition for Little Shop of Horrors.
Suddenly, I was in a musical. I’d never even heard a Broadway score before. I discovered I had a knack for it. My love for performing grew into a passion and then into a career. So, I’d have to say my “big break” was simply discovering theater. I’ve been really fortunate as a person in a brown body having gotten to do a lot in a very white art form.
CF: And you’re an Ecua-pino, you’re a double minority.
GS: Actually, I’m a triple minority – because I’m also gay.
CF: So am I! Wow, we’re two gay guys into musical theater. How not rare! I don’t usually get into this aspect this early in an interview. But because you brought it up, how has being Latinx impacted your career?
YE: Honestly, for me, being a Latin male in theater has been a blessing. But I’ve been lucky to be hired in shows about embracing our differences: La Cage, Head Over Heels, Moulin Rouge!, Matilda – are all stories about questioning the norm and welcoming diversity. But, as awesome as it’s been — it’s been hard to break into the principal world. Some directors still resist casting actors of color in major speaking roles. That’s been my challenge.
CF: Thanks for being so candid, because I wholeheartedly agree. You’ll see productions where diversity is very calculated and measured by casting one Black, one Asian, one Latinx, one trans, etc. Hamilton is rare because inclusion is part of its DNA. At least today producers are compelled to cast ethnically specific roles appropriately. So you’ll finally see an entire cast of hispanos playing the Sharks in West Side Story. But there are very few plays like West Side Story out there. How about you, George?
GS: Wow. (Takes a deep breath) Okay, at first I really resented being brown. In my high school notebook, I remember writing a bunch of last names that started with the letter “S” – I wrote George Sanders, George Samson, George Seltzer…
CF: That’s hilarious —
GS: But it’s also really fucking sad. I thought I had to do that or there wasn’t going to be a place for me. My white college friends were booking lots of jobs in summer stock, but not me. It really hurt my confidence. Then, I finally got some internships in New York where I saw Karen Olivo and Eden Espinoza — stage stars who were making it. Once I graduated, I moved from Florida to New York City where they strive to make good art with solid talent. I got work and learned to love and accept myself and my dual ethnicity.
CF: Although we continue to grow in numbers relative to our percentage of the U.S. population, we remain grossly underrepresented in entertainment. How did your families react to your career choice? Being Cuban, pursuing a ballet career shouldn’t have been such a stretch for you, Yurel. Get it, “stretch”?
YE: Got it, Cris. It was weird. Cuba has produced so many world-class dancers. Yet, my dad didn’t want to see me dancing in tights. He felt it wasn’t, um, masculine. He’s come around now – but initially…
CF: Initially, he copped the American boys don’t dance ‘tude not realizing the strength, coordination and athleticism it takes to dance professionally.
YE: Right.
GS: I’ve gotta say that even though my parents were not totally on-board with the acting thing – while I was interning in New York they totally supported me. It’s a testament to them because I’m sure they worried whether their mixed-race son could survive in this business.
CF: You’re both not only surviving, you’re thriving. Yurel, tell us about working on Spielberg’s West Side Story remake. The film’s trailer looks beautiful.
YE: It is beautiful. It was a dream experience. Steven Spielberg is a legend who is open with a generosity of spirit. He knew us all by name and invited us to watch playback. And what a budget! They dressed the city to look like the old streets of New York. They brought in cars and props from the 1950’s.
CF: It looks really real. Doesn’t look like Spielberg used much CGI.
YE: I do not know for sure. If there are any moments of CGI in the film. My guess would be no. Mr. Spielberg shot it on film, so it’s got that classic warmth to it.
CF: Did your body take a beating dancing on the hard cement and asphalt like the original 1961 movie cast complained about?
YE: Yes, and the weather was hot. But we had fans and misters all around to keep us cool while waiting between takes. The choreography by Justin Peck is genius, very exciting. It honors Jerome Robbins’ iconic original choreography, but it’s new.
CF: That brings us to the new production of Head Over Heels at the Pasadena Playhouse. George, what can we expect?
GS: Well, you can expect to walk into a party. We’re doing an environmental 90-minute one-act version of Head Over Heels. The orchestra seats have been removed and the stage level has been extended over the orchestra. So you’ll have three ticketing options: up in the mezzanine, seated onstage on risers, or on your feet to shake that booty. Those floor tickets are like a choose your own adventure.
CF: Yurel, you were in the original Broadway cast of the show and now under the direction of Jenny Koons and Sam Pinkleton, you’re creating a new role for this reimagined production, right?
YE: Yes! I play “The Player” who facilitates integrating the live audience into the story. This Pasadena Playhouse production is more fluid and set in a less-specific time than the original concept. We’re winking at the audience and letting them in on the fun. As George said, it’s a celebration.
GS: And it’s exactly what we need right now because we are emerging from two years of endless Zoom meetings. We sat on our couch, with Cheetos breath, in our pajamas, alone in the dark with the windows drawn, afraid of the outside world. Well, Head Over Heels is our welcome-back party and we’re going to blow the roof off!
CF: With A-list cast members like Alaska 5000 (RuPaul’s Drag Race winner), Lea Delaria (Orange Is the New Black), Tiffany Mann (Lucille Lortel Award-winner), Emily Skeggs (Tony and Grammy Award-nominee), Shanice Williams (“Dorothy” in NBC’s The Wiz Live!) and you two gents – the audience will be head over heels with delight. Did you guys notice how I brilliantly worked in the show’s title? Last question: You guys are making it. What advice do you have for aspiring actors?
YE: Assuming that they’ve done the deep dive and concluded that this is the only thing that will fulfill them and they are willing to accept the rejection, I would tell them that it takes patience. Separate your worth from your work. Yes, work on your craft but be kind and generous – especially to yourself. Even if you are not employed, you are not broken. You are whole. If you create a balanced life, the work will follow. Develop your own abilities and simply keep going.
GS: And go forth and conquer!
To see the dazzling Yurel Echezarreta and the hilarious George Salazar in the Pasadena Playhouse’s Head Over Heels, log onto: pasadenaplayhouse.org.
