DEI theatre Archives - Dramatics Magazine Online

5 Must-Know Musicals with Hispanic Heartbeats

Patty Craft — Mon, 09 Oct 2023 21:04:11 +0000

A willingness to remember the past, and the trailblazers who made a way for today’s Latinx artists to shine on stage, is at the core of this post celebrating National Hispanic Heritage Month (NHHM) in the U.S.

In 2023, Broadway got the party started early in September with the ¡Viva! Broadway concert. It was a showcase of current Latin excellence on Broadway. Some participants were asked: “Who is a Latin performer in the industry who inspires you?”

Today’s artists provide shoutouts to some of “the five you want to know” when it comes to musicals with Hispanic heartbeats.

1. West Side Story

Yani Marin, proud daughter of Cuban immigrant parents and an actress, dancer, singer, and producer from North Bergen, NJ, named living legend Rita Moreno her inspiration. Marin said, “I am inspired by Moreno’s phenomenal career, and I pray I can still be doing what I love when I’m her age.” Moreno is 91 years old at the time of this post and most recently served as an executive producer on the 2021 remake of the film West Side Story.

Moreno is a Puerto Rican actress, dancer, and singer who has performed on stage and screen in a career that spans seven decades. She starred in the 1961 film adaptation of the 1957 musical West Side Story. The story is an updated telling of Shakespeare’s Romeo and Juliet – star-crossed lovers struggling in modern-day New York City.

While West Side Story was (and is) a popular production, it’s vital to note that the 1961 film in which Moreno appeared is a source of controversy because it was written by non-Latinos: the music was written by Leonard Bernstein, and the lyrics were written by Stephen Sondheim. Brown face was used on many of the actors, including Natalie Wood, who played Maria. In fact, Moreno was the only Latina involved in the production! Still, it has an enduring place in the American musical theatre cannon and more recent productions (including the 2021 film adaptation) have striven to bring a higher level of authenticity to the material.

2. In the Heights

Jaime Lozano, musical theatre composer and self-proclaimed dreamer was asked to name a Latin performer who inspires him and named Lin-Manuel Miranda. Lozano said, “Lin-Manuel has been always an inspiration and a great supporter of what we [the Viva Broadway organizers] are doing.”

Miranda made his Broadway debut in 2008 with In the Heights, for which he wrote the music and lyrics, while also starring in the leading role. The story revolves around a street corner in the Dominican Washington Heights neighborhood of Upper Manhattan in New York City, where everyone pursues their sueñitos (little dreams) for a better life.

3. Hamilton

Miranda returned to Broadway in 2015 with Hamilton, another show for which he wrote the script, music, and lyrics (sung and rapped) while assuming the lead role. Hamilton earned the Pulitzer Prize for Drama and was nominated for a record 16 Tony Awards (winning 11).

If you’re a musical theatre lover, you’d have to have been under the proverbial rock not to know that Hamilton has become a pop-culture phenom. It’s the story of U.S. founding father Alexander Hamilton’s fight for honor and love, striving to leave a legacy that helped shape a nation.

4. Kiss of the Spider Woman

Thirty years ago, Kiss of the Spider Woman ran in the West End and on Broadway. The show won the 1993 Tony Award for Best Musical. The story is based on the Manuel Puig novel El Beso de la Mujer Araña.

The story is about two prisoners in one dank cell somewhere in Latin America: A Marxist guerilla named Valentín and a gay window dresser named Molina. As the story unfolds, they learn to understand their differences and respect one another.

A movie by the same name was made in 1985 starring William Hurt and Raúl Juliá. (Yes, you may be more familiar with Juliá in his role as Gomez in the 1990s movie versions of The Addams Family!) 

5. On Your Feet

To round out “the five you need to know” when it comes to Broadway musicals with Hispanic influence, check out the 2015 jukebox musical On Your Feet. It hit Broadway at the Marquis Theatre. The story showcased the pop-music hits of Gloria Estefan, her husband, Emilio Estefan, and their group Miami Sound Machine. Give the soundtrack a listen – the rhythm is gonna get you. (Sorry, not sorry.)

The History of National Hispanic Heritage Month

In the U.S., National Hispanic Heritage Month began as National Hispanic Heritage Week in 1968. Then in 1988, the celebrations were extended to a full month running from September 15 to October 15. We’ll let you explore on your own why the festivities straddle both September and October and learn what the Cry of Dolores refers to; a phrase you may hear associated with NHHM.

Patty Craft is a regular contributor to the Educational Theatre Association.

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How to Fight Against Stereotypes in Theatre

Rosanna Gao and Brayden Chein — Mon, 28 Feb 2022 16:28:31 +0000

Yale graduate Skyler Chin has taken the fight against stereotypes in theatre personally. Inspired by his internship experiences at Angel Island, Skyler wrote Illegal, a creative and powerful rap-rock musical about the history of Asian-American immigrants. He hopes Illegal helps shine the light of understanding on the often untold history of Asian immigrants. The expressive lyrics and dynamic score of Illegal does what theatre does best: educate while entertaining!

Skyler was initially inspired by his grandparents’ stories of immigrating to the U.S. during the Chinese Exclusion era in the late 1800s nd early 1900s. (Discover more about the Chinese Exclusion Act of 1882). Plus, his late father had a deep kung fu practice that influenced him, so Sklyer combined these experiences with his self-taught musical skills to create Illegal. The final impetus to the musical’s creation was Skyler’s experiences at Angel Island combined with his passion to fight against stereotypes in theatre. Skyler’s historical-fiction narrative on immigrants detained on Angel Island has come into the world at an ideal and critical time.

Using Immigrants’ Own Words to Fight Against Stereotypes in Theatre

During his internship with the Angel Island Immigration Station Foundation (AIISF) in San Francisco, Skyler read the book Island by Judy Yung (1980, University of Washington Press). Island is a compilation of poetry originally found carved into the walls at Angel Island by Chinese immigrants detained there to try and uphold U.S. exclusion laws. Skyler says, “The poems had such moving and emotional lyrics, but what stood out to me was that they weren’t limited to sadness and grieving. These immigrant poets also expressed determination, perseverance, and even the furious desire to exact revenge and burn the immigration station down. Their words conveyed a fighting spirit that I was never taught about in American history. I was moved to write them into a song, which became the opener of the musical.

“Illegal is based on just one family’s story, but I hope to tell a piece of Asian-American history through songs that capture the spirit and resolve of those who went through Angel Island. Given the anti-Asian hate we’ve experienced during the COVID-19 pandemic, I hope shows like Illegal can help humanize us, instill empathy, and help to dismantle the perpetual foreigner myth as well as the model minority myth that fuel the attacks.

“I also want to inspire other kids to tell their stories. I met a class of 3rd-grade students in Oakland’s Chinatown who performed our uplifting song “Keep Dreaming” as part of their Martin Luther King Jr. Day festival. I was so touched by their rendition! I told them I hope they are inspired to keep dreaming, to write shows of their own, and to tell their stories.”

Taking Action When History Repeated Itself

“I originally wrote Illegal at Yale in 2019, in response to the previous federal administration’s family separations, Muslim ban, border wall, attempts to repeal birthright citizenship…the list goes on. These policies echoed the anti-Asian immigration laws from 140 years ago, especially the Chinese Exclusion Act. For instance, my grandfather was separated from his parents at age 10 years, despite being a legal immigrant. He was detained in bad conditions on Angel Island for months during 1923. I saw these kinds of detentions happening again to immigrants in 2019. I felt like history was repeating itself!

“Maybe part of why this was happening again was because people weren’t taught about these same kinds of events in our country’s past? I wanted to help educate others by telling my family’s story. And even now in 2022, we’re seeing states banning real history education and critical race theory, both of which I needed to understand to write this musical.”

Skyler Chin and Nick Leung performing at Carnegie Hall.

Characters Drawn from Real Life

“I relate most to the ‘paper son’ character Slim Chin,” Skyler says. “He’s inspired by one of my grandfathers, who was an illegal immigrant living in NYC Chinatown under the paper name Wong. Originally, he did not want my last name to be his real name Chin because he thought it would endanger our family. Writing the character Slim Chin helped me reclaim that history and shine light on my grandfather’s life and secret identity.

“I also really relate to the Chinese American interpreter, Carter Lee, as she struggles with her identity being pegged as a perpetual foreigner even though she was born in America. And there’s our heroine Kee Lin who loves kung fu and is always fighting for what she believes in. Her rap style is influenced by Wing Chun, and I identify with her the most musically.”

What’s Next & How Readers Can Help

“My collaborators, Olivia Facini and Sita Sunil, and I are rehearsing with a professional all-AAPI cast to tour high schools and organizations in the NYC area and around the nation to perform Illegal. So far, we’re planning visits to Manhasset School District, Flushing Town Hall, Angel Island, The Chinese Historical Society of America, Queens Public Library, and more! We were named semi-finalists for the Eugene O’Neill National Musical Theater Conference, and have been working with our community partners, the Angel Island Immigration Station Foundation (AIISF) and Asian American Legal Defense and Education Fund (AALDEF) to plan exciting educational programming this year.

“We are building interest and raising funds for a professional production in 2022 of Illegal in recognition of the 140th anniversary of the Chinese Exclusion Act of 1882. We deeply appreciate any help with fundraising, performance opportunities, donations, connections to organizations and/or people who would be interested in getting involved. Please reach out to us with the contact information below!”

To learn more about Skyler Chin and how you can help, connect with him at skylerchin.com/links.

The post How to Fight Against Stereotypes in Theatre appeared first on Dramatics Magazine Online.

Meet a JEDI Trainer

Destinee Steele — Wed, 10 Nov 2021 18:56:42 +0000

Destinee Steele’s a JEDI trainer. No, not of the Star Wars variety. She recently completed her first theatrical JEDI training tour and shares the story!

If you don’t know her yet, Destinee has an MFA in wig and makeup design. She is the CEO of The Beauty Menagerie, LLC. She is also a Founding Board Member of Black Hair and Makeup United. Let this multi-talented theatre maker fill you in on her JEDI training tour and the work she’s doing. You’ll be inspired!

What is a JEDI trainer?

First, let me tell you why there’s a need for a JEDI trainer. There is a common problem in theatre hair and makeup rooms: BIPOC talent often suffers at the hands of artists that lack proper training with textured hair and makeup applications for deeper skin tones. I was a touring wig and makeup supervisor by profession when COVID-19 hit. It turned out I had about 18 months to figure out how I was going to help change this industry for the better.

The JEDI training I did was a super cool job that was born out of necessity. NETworks Tours agreed that all talent should have all their hair and makeup needs met by trained hair stylists and makeup artists. They hired me as their first “Just Equity Diversity and Inclusion trainer/consultant” (a.k.a. JEDI!). I traveled and trained all their wig and makeup supervisors for the season. I made sure that they had the information, products, skills, and support that they needed to move forward in a safer way with BIPOC talent on the road.

On tour, I am a voice for the actors, a consultant for the designers, and a resource for the supervisors. The most important part of my job is advocating for the performers. Sometimes those are tough conversations to have, which is why many people don’t even have them! As an unbiased third party, it is my job to be a creative problem-solver. I report back to the company what issues are being dealt with and the plan of action.

I visited touring productions at the beginning of the rehearsal process while initial wig fittings were taking place. I helped assure the performers that NETworks Tours is committed to taking care of them this season. Part of the training involved taking the wig and makeup supervisor to the local hair store to shop for products and tools for the performers’ needs for the show.

Destinee Steele (center) with friends in JEDI training. A trip to the supply house stocked the right products and tools to manage all of the performers’ hair textures.

The Top 3 Hair & Makeup Misconceptions

Misconception #1: Pin curls are the only way to prep hair for all performers.

The way we address wig preps for all is by asking: How do you like to wear your hair on a daily basis? From that answer, we work backward. Some of this season’s performers have natural afros, and they like to wear their hair in a twisted protective style during performances. So, we equip the supervisor with the information, skills, and jargon to walk the performers through new hair preps.

It’s important that the performers trust their supervisors, as they will be traveling together long after I’ve gone. It’s also equally important to know that the supervisor can execute this new concept in my absence.

Misconception #2: Deva Curl works on all textured hair.

A couple of the tours that I visited only carried Deva Curl in the road boxes for their BIPOC performers. I love this brand as much as every other licensed cosmetologist, but the performers want to see items in the product drawer that they use and recognize. We kept the Deva Curl because there are people on tour with curly hair who are not BIPOC and EVERYONE deserves to be catered to! And we went shopping at the local hair store for more common brands used by the BIPOC performers. Win/win!

Misconception #3: Using the performers’ own hair is cheaper than wigging them.

Sometimes this is true. Most actors prefer to be wigged to protect their hair from over-manipulation throughout the run of a show. If the production chooses to use the performer’s own hair, it is my job to relay to the designer what that actually means in the form of maintenance, time, and money.

I talk through all facts with all parties involved. For example, if the actor will have locs (a.k.a. locks or dreadlocks) for the duration of the tour, then we have to consider the cost of a monthly retwist, products to maintain the hairstyle in between maintenance, and how to modify pins/hairstyles within the production itself. Using a wig or the performer’s natural hair are two viable options. We all just need to be on the same page with a safe plan of action moving forward.

Who did you teach on the JEDI tour?

Actors, supervisors, and designers were my students. The most diverse group was the actors. The theatre industry is putting together more inclusive casts. It is exciting, and an honor to bear witness!

Typically, designers are white males. The same is true for every boss I’ve worked with in this industry. Not much diversity there. Supervisors are typically white females, so not much diversity there either. I hope that as the industry continues to move in an even more inclusive direction, we will integrate more BIPOC designers, supervisors, and creatives.

What advice do you have for theatre students?

If you are interested in any part of the theatre industry my advice is: Never stop learning. The industry, technology, and our whole world is constantly evolving. People who are set in their ways usually get left behind.
Learn from everyone, even if the only takeaway is how not to do something.
Jump on every opportunity to turn your passion into a paycheck! I have a heart for teaching and helping artists better the conditions in their wig and makeup rooms. This JEDI training tour with NETworks helped me fulfill that dream. If no one has told you today, I believe you can do it too!

Destinee Steele is a regular content contributor to Dramatics.org along with being a JEDI trainer. To learn more visit Destinee at destineesteele.com.

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