Featured Q-STAGE Artist: Nadia Honary

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As part of Q-STAGE 2017, Nadia Honary is creating a new performance piece combining video and movement – These Floating Bones – that will perform May 5 and 6 at 7:30pm, and May 7 at 2pm. For more information about this and other Q-STAGE shows, click here

As one of our 2017 Q-STAGE Artists, can you tell us about where the idea(s) for your show came from?

The inspiration for this piece has been in development for over a year. I’m very fascinated with the body’s relationship to the mind, and its relationship to the natural moving world. It’s very easy to become distracted and disconnected from the world around us as we advance in technology and strive for comfort and convenience. This disconnection prevents us from listening to our bodies, and ultimately lose a certain sense of the self. It is this reason that I chose to explore some of these themes using butoh-inspired movements and combining that with video of natural occurrences, such as water in a lake or leaves blowing in the wind. This piece is very personal for me because I am exploring my tendencies to become disassociated to my own identity. So for me, this piece is more like a journey into becoming reacquainted with this “self” through elemental inspired images and movement. My gender is fluid, my identity is liquid. I feel a connection to the idea of Noguchi Taiso which is the notion of the human body as a form of liquid, a water bag in which our bones are floating.

Have you been collaborating with any other artists to create this show? Who are they are how are they contributing?

My director/collaborator, Shalee Coleman, has been an absolute dream to work with in creating this piece. She is one of the few humans who will completely understand what I’m saying and be able to take any of my ideas, no matter how large or seemingly impossible, and mold and shape it in a way that works beautifully in the piece. I feel very lucky to get to work with her. I have also had the privilege to meet with interdisciplinary artist and dancer Michael Sakamoto. His work is very deeply influenced with butoh and having the chance to talk with him and also to watch him perform has greatly inspired me to keep pushing forward with my own work.

Why do you feel it is important to share this story of your performance with the community?

Vulnerability is incredibly important in the work I create because that is what people connect to. Although it is very scary to create this kind of work, it is also a very healing process for me. I hope this piece creates a sense of healing within the community, inspiring people who witness this work to embrace the natural evolution the body experiences, and to feel the physical changes internally and externally.

What aspects of your queer identity do you hope to express through your Q-STAGE piece?

I am taking an experimental approach to topics that are very personal to me as an always evolving queer-identified artist. I am creating a performance that indirectly addresses the evolution of the physical body and its connection to nature, very conscious of the fact that my own identity is in a constant state of transition. My journey coming to terms with my own sexual identity is an ongoing process and I am fascinated with the way society tries to box people into neat packages for the sake of convenience when gender and human identity is entirely complex and changing.

Talk about your background as an artist. What sort of artistic experience are you bringing to this production? Have you been involved with 20% Theatre in the past and, if so, in what ways?

I’m a multimedia artist with over 10 years of experience in the visual arts. I’m very passionate about photography and videography. That’s why video is a huge part of this particular piece; I’m very visual and find great inspiration in movements inspired by nature. I also have several years of experience doing experimental theatre work. I love to move and as a performer, am very physically expressive. This will be my first time involved with 20% Theatre, but hopefully will not be the last.

What social issues are important to you and how do they inform the art you create?

The concept of gender identity and how cultural identity influences gender and sexuality very much informs the art I create. I’m half-Iranian, with half of my family still living in Iran. This means I’m still closeted to most of my extended family as Iran. I think about freedom of expression, of perception and censorship. These themes come up often in the art I create. I’m also very impacted by immigration policies and the act of inspiring fear in order to discriminate against an entire group of people, how certain words are used in conjunction with an entire region or religion in order to manipulate the way others view anyone coming from that area. I consider these specific social issues often when I create my work.

What other artists or performances have inspired you over the years?

There are so many! I am influenced by artists that physically and intellectually challenge perspectives. M.C. Escher has aesthetically inspired my approach to installation through use of reflections and mirrors. Conceptually, I am inspired by surrealism, which is why I draw inspiration from the works of Georgia O’Keefe, Frida Kahlo, and Salvador Dali. Iranian artist Shirin Neshat’s use of video projection to transform spaces, as well as the usage of text within her work has also shaped my work. I also love the work by installation/video artist Pipilotti Rist. Local artists whom I know or have met that have shaped and inspired my work include ceramist and interdisciplinary artist, Katayoun Amjadi, photographer Wing Young Huie, and as I mentioned earlier, mover/interdisciplinary artist Michael Sakamoto.

Are you working on any other projects or are there others you hope to work on?

I would like to eventually finish a documentary that I started on my half-Iranian identity which also focuses on my dad’s story and how he got here. I think stories on immigration and identity are important to share, especially in times like today.

What is your favorite pre or post-rehearsal snack or meal?

My favorite post-rehearsal meal is tacos! Always tacos.

What is your favorite hangout spot and why?

I love going to Caffetto cafe. The space is cozy and they have pinball machines in the basement. I also love being outside whenever the weather permits. I will walk anywhere and everywhere and hang out in the park. Specifically Powderhorn Park is very close to my heart.

When you’re not deep in Q-STAGE rehearsal and development, how do you spend your time? What are some of your hobbies or passions in life?

I love spontaneous dance parties in the living room, riding bikes with my partner, and cooking with simple ingredients. I also love challenging myself by trying new things. I’m excited to mountain bike more often as the weather warms up; I just started last fall and I’m hooked!

 

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Featured Q-STAGE Artist: Devin Taylor

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As part of Q-STAGE 2017, Devin Taylor has written & created and co-directed THE SMITTY COMPLEX, a brand new work that will perform May 5 and 6 at 7:30pm, and May 7 at 2pm. For more information about this and other Q-STAGE shows, click here


As one of our 2017 Q-STAGE Artists, can you tell us about where the idea(s) for your show came from?

The idea for the story itself comes from stories I used to make up and tell to my best friend. I would text her poems and limericks about an otter. These poems usually found the otter in some bizarre predicament, having lost his shoes, torn his pants, eaten too much–it was really all about the rhyme scheme. It’s hard to say where the original concept for The Smitty Complex began, but it’s possible that it was a spin off of one of these stories that took a dark and complicated turn.

That was about seven years ago. I carried the idea with me for a few years before finally deciding to write it in the form of a short story four years ago. Since then, it’s been a somewhat slow process of allowing this play to say something “Real.”

It began with a story of an otter named Smitty and a whole lot of semantics that I imagine only a few people (like myself) would actually enjoy reading or seeing performed. Ultimately, I decided that I wanted it to be accessible to an audience and to say something real about the institutionalization of identity–even if it meant dispensing with some of the stylized conventions of absurdist theatre and blurring the line between real and surreal. I really had to fight my own stubbornness on this. I knew the issue of identity was central… I just wasn’t sure how much I was willing to give or how earnest I was willing to let it be.

 

Have you been collaborating with any other artists to create this show? Who are they are how are they contributing?

I am fortunate to have four veterans of The Naked I series–Courtney Stirn, Beth Mikel Ellsworth, Graeme Monahan-Rial, and Logan Gilbert-Guy–who will bring these roles to life on stage. I am also collaborating with up & coming director Bri Collins.

 

Why do you feel it is important to share this story/the story(ies) of your performance with the community?

I don’t know that it is, to be honest. I hope that it is. Working on this story for the past four years has really helped me break down some useless and problematic walls that I’d built around myself and allowed others to build around me. I’d like to think that it holds the potential to do that for others. If nothing else, I hope that it is something people enjoy.

 

What aspects of your queer identity do you hope to express through your Q-STAGE piece?

I have always felt at odds with the act of declaring the “authentic self”–not that such a thing does not exist, but that the act of declaring it is almost intrinsically contrary to its authenticity.

The idea of identifying one’s authentic self implies that this self is concrete and well-defined–something we can stand aside and observe, admire, and criticize. The self is to be lived and it occurs to me that maybe third-party perspective isn’t all that important. Maybe knowing yourself is less like staring at a portrait of your own image and more like the sensory act of feeling your way along the rocky bottom of the ocean in which you live, looking for that next tasty mollusc you need to sustain you.

 

Talk about your background as an artist. What sort of artistic experience are you bringing to this production? Have you been involved with 20% Theatre in the past and, if so, in what ways?

I’ll confess that I’m not entirely comfortable calling myself an artist out of context. However, I have stage managed a number of productions with 20% Theatre. For the record, I’m not comfortable calling myself a stage manager, either. It’s just something I’ll do for you if you ask me nicely and I think you’re neat.

 

What social issues are important to you and how do they inform the art you create?

I feel a protective pull toward vulnerable individuals– or those I perceive to be so. Now more than ever, I find myself fearing for the safety, health, and fair treatment of the most vulnerable among us, for right now it is the most vulnerable who are the most under attack–

Those seeking asylum after giving up everything to escape violence and terror. Those living with few rights and little hope of protection as undocumented workers.

Those living with developmental and cognitive disabilities, whose very lives depend on the humanity of the more advantaged and who are at the mercy of those in power to recognize and value them as people without weighing the cost of their needs against their ability to contribute.

The elderly and disabled who depend on government-funded programs.

The children and animals who have no control over the destruction of their planet and its resources.

In many ways, my protagonist, Smitty, embodies this vulnerability. He is the perceived Other. He is at the mercy of an institution with unjustified power over his fate. He is an individual, and that in and of itself is a vulnerability. There is the depressing sense that even if he does clearly call-out the flaws, the hypocrisy, and the injustice around him, it will make little difference, because the institution will always prevail over the individual. It’s a frustration that seemed very personal and applicable to certain marginalized groups when I first began this story years ago. I believe it has lately become relatable to a much broader cross-section of humanity.

 

What other artists or performances have inspired you over the years?

Actually, the first performance art I really loved was opera. I used to listen to opera records while I played, teach myself to play my favorite arias on the piano, and fall asleep listening to Verdi every night. Whenever the local college put on an opera, my dad would read me the story (in English) and then take me to see it.

I didn’t see many plays–outside of the occasional school field trip–until college. So the bulk of my exposure to theatre came from reading plays.

One of my earliest loves was Tennessee Williams. He had a way of making the ugly parts of reality beautiful, which really gave hope and vital perspective to a deeply depressed teenager. He made crass and pedestrian language lyrical. His characters taught me not just to accept imperfection in people, but to desire it.

Eugene Ionesco was another inspiration and perhaps one of the most influential. I began reading his plays during lunch in high school, just to escape reality during my least favorite time of day. The first play I directed in college was Ionesco’s A Frenzy for Two. It feels strange to say it, but the existence of work like his has been something of a life preserver.

Since coming to the Twin Cities, more than twelve years ago, I’ve seen some truly astonishing theatre. I’ve worked for large, medium, and small companies, and some of the most memorable, powerful, and visually and conceptually stunning work has come from small, nomadic theatre companies working with limited and borrowed resources.

This will to create and to reach people despite the difficulty of doing it is an inspiration–not just for creating art against the odds, but for living life against even greater odds.

I’m inspired by designers who use their talent to help others realize their visions on stage.

I’m inspired by actors who come to rehearsals bone tired with all the problems of daily life on their minds, who then put those concerns aside and delve into the physical and mental work of bringing concepts and characters to life. I’m inspired by their willingness to make themselves vulnerable in every space and then put themselves and that vulnerability on stage.

 

Are you working on any other projects or are there others you hope to work on?

I’m actually engaged in a couple of different projects right now in which I’m helping other people tell their stories. It’s my favorite way to connect with people, learn about life beyond my own experience, and find inspiration.

Personally, I have multiple projects at varying stages of completion. I probably always will. I may one day write a show called Multiple Projects at Varying Stages of Completion.

 

Featured Q-STAGE Artist: Syniva Whitney of Gender Tender

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Who are you and what is your show called?
I’m Syniva Whitney, the choreographer, director and writer…and also one of the members of Gender Tender. Our piece in Q-STAGE is called “BENT/STRAIGHT” – performing this weekend, May 20 & 21 at 7:30pm, and Sunday, May 22 at 2pm.As one of our 2016 Q-STAGE Artists, can you tell us about where the idea(s) for your show came from?

Well, I guess I jumped down the rabbit hole of BENT/STRAIGHT by creating  fictitious versions of my co-star Will Courtney and I. They’re names are Wizard and Scout. This work has developed into its own world mixing up my interests as a dancer, a visual artist and a drag performer as well as my a love for film noir and futuristic thinking. The imaginary couple Wizard and Scout are always wrestling with the anxiety of losing their better half while also wondering who is the better half and wondering if thinking there IS a better half does that mean there’s an evil half? Or maybe there is never a whole. A whole what? They’re not sure.

This work is also certainly about navigating the world in as a non-binary person…the weirdness that happens as a so very bent person walking through a mostly straight world…that feeling of the black hole of the straight world taking up so much of your tiny island of queer space with all the barbed wire and booby traps around it but somehow something still gets in, threatening ourselves and our loved ones, seeping into our minds and souls. That sense of being outnumbered, tokenized, invisible, misunderstood…and then finding a loved one, another flame in the dark. It’s an abstract work, at times super visual and  very physical. Using abstraction and movement as language to me means honoring what we cannot explain, name or define, we’ve got to experience it to know. This is also inspired by the fact that Will and I are a real life queer couple, an alternate spin off, bizarro us. There is also compulsive urge I have to modify or mutate my own world, my home, my own body for good and bad reasons….also the urge I have to fulfill the desires of others, build their dream worlds and dream bodies. This is probably present in BENT/STRAIGHT. I think we are all wizards with the power to create change inside and outside of ourselves….I also think we are all scouts testing the terrain and preparing others for what is to come.

Have you been collaborating with any other artists to create this show? Who are they and how are they contributing?

We’ve been collaborating with visual artist Madeleine Bailey. She’s a very good friend of mine, and we met while in the MFA program together at the School of the Art Institute of Chicago. She’s a multi-disciplinary artist, writer and mentor currently based in New York…she’s been coming here to Minneapolis for a few intensives and collaborating digitally and on the phone from the beginning of this project talking visual stuff, brainstorming and testing ideas for BENT/STRAIGHT. She’s got big beautiful ideas and I’m so inspired by that, I  love what she’s created for this work. Making the objects come to life has added a whole other dimension to the process and it’s been a lovely mind meld. Madeleine is also a fellow lover of film noir and the absurd and so we’ve had fun doing research and just getting deep into playing around with what could happen….she’s brought an amazing eye to this, I feel lucky she agreed to work with us! We get to perform with her objects throughout and there is also a light installation that we interact with and kind of build during this performance. These elements have really become a part of the heart of this work. Also, we’ve got music from Ariskany Records featured throughout. Ariskany Records aka Cary and Evan James. They are brothers and artistic collaborators and we’ve been able to use their music in a lot of our work in the past and I’m so happy they still don’t mind us using their art as a soundtrack for Gender Tender. I’m a big fan, I love the sound they create and definitely have always felt aligned with their experimental approach to making music. Check them out! Download it, you’ll like it. I love being able to dance to their sound, it makes me so glad I get to do this kind of work. And of course Will Courtney is a brilliant performer and lovely human and it’s been an amazing experience having so much time to develop the work together. Collaboration is the best.

Are you working on any other projects or are there others you hope to work on?

Yes, I was invited by Pramila Vasudevan to be one of the facilitators and designers for Aniccha Arts upcoming durational performance called Census. It will be happening at Northern Spark this June. Will is performing in it as well. It’s been great to work with a big team of artists of all disciplines and backgrounds since this past December talking about social identity mapping, institutional structures, parades, autonomy, underrepresented communities, the idea of a critical mass and people performing murmurations. There will be a cast of a 100 people performing in a line for 9 hours! So excited to be a part of this project.

As far as Gender Tender and my own personal projects…I’m always looking forward to making new or more work, or getting to refine and research what we’ve got….I have a recent dream of writing and directing a solo work for Will, so we shall see. I keep writing. I’m always looking forward to continuing to create new things, to keep on art-ing.

What is your favorite hangout spot and why?

Currently and usually my yoga mat in the morning is a favorite spot…especially with some sunshine coming in the window. Yeah, also I like going outside and staring at trees and sky and birds and people and squirrels lots of squirrels in Loring Park. Also, I like sleeping in. I’m cool like that.

When you’re not deep in Q-STAGE rehearsal and development, how do you spend your time?

I’m into watching cooking shows on Netflix… especially demented ones like Cutthroat Kitchen and Chopped. I think these kinds of things should definitely replace fighting of all kinds in general. Let’s just have a cook off. Someone can win. And then we can all be friends and eat together.

Don’t miss BENT/STRAIGHT this weekend! Click here for info & tickets.

Featured Q-STAGE Artist: A.P. Looze

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Who are you and what is your Q-STAGE show called?

I’m A.P. Looze and my show is called “The Grief Experiments.”

As one of our 2016 Q-STAGE Artists, can you tell us about where the idea(s) for your show came from?

My friend Floyd passed away by suicide in 2014 and almost immediately I wanted to create something about that experience. In hindsight, I realize that impulse to make something was in fact a way of avoiding the pain and the loss I was feeling. I hadn’t grown from the experience yet. I was still entrenched in it. I think I found a new energy and a new way of looking at it after having lived some life after her death. After creating some distance from the trauma of that loss, I was better able to look at it for what it was, or what my memory thinks it was—the truth keeps changing. This piece feels like a snapshot of truths I experienced in the wake of Floyd’s death.

Have you been collaborating with any other artists to create this show? Who are they are how are they contributing?

Yes! Zoe Michael is directing this piece, and Lisa Brimmer is providing some voice work. I have worked with Zoe before, and I trust her instincts and thought she would be a great fit for this piece. She has provided so much shape, texture, and detailed elements to my writing and very broad stroke ideas of what I have wanted to convey. Her perspective has been so valuable.

Lisa is lending her support with some voice elements in this piece. Her voice has added such a presence, distinctive personality, and a particular dimension to the piece that allows it to open up. She has also been lending a very keen, empathetic and inquisitive perspective to the rehearsal process that feels enlivening.

Overall, I have been so grateful for both of them in this process.

Why do you feel it is important to share this story/the story(ies) of your performance with the community?

I think this piece is rooted in telling and showing my truth—the hard, horrible, hilarious, deep, joyous mind bending truth of my grief. I hope that elements of my experience will resonate with others. My intention is not to teach a lesson about grief to the community because as universal as grief is, it is also a deeply individual experience and there is no right or wrong way to grieve. I hope it gives people an opportunity to reflect upon their own grief, our shared grief, everyone’s grief, the big griefs and the little griefs that make up our everyday lives. That is the best thing I could ask for.

What aspects of your queer identity do you hope to express through your Q-STAGE piece?

A question I have been so interested in is: “If I existed all by myself with no one around, would I still be transgender?” I think one answer is no, because with no one to compare myself to, I couldn’t know there was any other way to be, or look or feel. But…do we know that? Is there something way deep down in the soul that would just know, “this is not the body I belong in”? Is my queerness always dependent on society, the friends I surround myself with, etc…or can it be completely separate from that and come from within?

Floyd and another friend whom I severed ties with had huge influences on how I defined my own queerness. When these people suddenly disappeared from my everyday life, I felt untethered. I thought to myself, “Is my queerness a farce?” In the midst of these losses of friendships, I also bid adieu to alcohol. I didn’t realize how much of a foundation alcohol was to my existence as a queer person until that, too, disappeared. Most gatherings of queer people that I found myself in included alcohol. Sometimes we surround ourselves with people and things that serve the purpose to cover up our own pain and suffering. I had to start asking myself what is the queerness and, bottom line, sense of self, that I cultivate on my own that are not attached to these people and this substance that are no longer in my life? I went back to the roots of my queerness, my own self-discovery of being queer as a child in order to understand and accept the validity of being queer from a gender and sexuality standpoint. I think this piece shows how grieving is heavily influenced by queerness, and queerness is heavily influenced by grieving. They go hand in hand. There is a sense of letting go that happens with being queer—letting go of the expectations we and others have of our bodies and then finding what rings the most true on our own.

Talk about your background as an artist. What sort of artistic experience are you bringing to this production? Have you been involved with 20% Theatre in the past and, if so, in what ways?

I have done a variety of things on stage. I wrote for and performed in 20% Theatre’s The Naked I: Wide Open in 2012. I have collaborated with Lazer Goese on a number of occasions. I have also done a solo piece as a part of Pleasure Rebel. I was very into photography when I was in high school and earlier parts of college. My place of artistic and creative inspiration and “work”, so to speak, lands in the realm of writing. My ideas come to life through words more than anything else.

What social issues are important to you and how do they inform the art you create?

I think healthily expressing feelings and healing from trauma are social issues. We live in a society that idealizes intellectual thinking and action-oriented productivity that has tangible, measurable results. Where’s the space for the feelings? For listening to our inner selves and to others? There is so much pain in the queer community, the entire world. It’s an abundant amount of hurt that seems so challenging to express, uncover, understand and resolve in the midst of living in a world that has so many expectations thrust upon us that divert our attention from looking within. It’s hard to measure emotional growth. It’s hard to measure self worth and and connections to others. What does that yardstick look like? I feel lucky and privileged to have had the time to look within myself and create this piece. It has been a blessing. I want everyone to have access to the time and space and people that can help heal. It is so important to build healthy selves, healthy relationships to others, and healthy relationships to existence. This is where a lot of my energy has been located.

What other artists or performances have inspired you over the years?

Sandra Cisneros, Mary Oliver, Jeanette Winterson, Eula Biss, Claudia Rankine and Aimee Bender stand out to me as inspirational writers. I saw Masanari Kawahara’s piece Little Boy soon after Floyd passed away and that really stuck with me. When I need to sink into images, I have turned to Francesca Woodman.

Are you working on any other projects or are there others you hope to work on?

This piece has been such a journey. Sometimes when I sit with the material, I think of other ways of entering into it. Performance has been helpful to open up certain parts of my experience, but I keep wondering how images, dancing, and additional writing can open up even more doors. How can I see this from every angle? I keep making lists on the backs of envelopes of things I want to do that are related to this material, and things that are on a different wavelength.  It’s exciting to make lists. It’s terrifying to do them. Where does one begin?

What is your favorite hangout spot and why?

Physically? My couch. It’s so versatile! I can sit on it, lay on it, watch movies on it, write, eat, nap, think, hang out with people on it, cry, etc. It’s like this island in my apartment where everything is possible.

But really, hanging out in my imagination has been pretty great lately. I can access it any time, and in all my time being alive, I have never lost it. And, everyone has one and they can be shared! It’s magical.

When you’re not deep in Q-STAGE rehearsal and development, how do you spend your time? What are some of your hobbies?

Writing, reading, and thinking. Also, I’m learning how to juggle. Thanks, Puck.

Don’t miss A.P.’s The Grief Experiments in Set “B” of Q-STAGE: New Works Series, performing Friday & Saturday, May 20 and 21 at 7:30pm, and Sunday, May 22 at 2pm. 

Featured Q-STAGE Artist: Hector Chavarria

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Who are you and what is your show called?

I’m Hector Chavarria and my Q-STAGE show is called The Big Gay Mexican Show. It will be presented during the first weekend of Q-STAGE May 13-15, 2016.

As one of our 2016 Q-STAGE Artists, can you tell us about where the idea(s) for your show came from?

Well, I have been working on Big Gay Mexican for almost two years. The reason I created this persona was because I realized that someone like me wasn’t being represented positively in the media. I decided it was about time that a bigger build, Mexican American man, who happens to be homosexual, be shown as a proud individual to be himself.

Have you been collaborating with any other artists to create this show? Who are they are how are they contributing?

This process was crazy. So, I started working with Stacy Schultz, my director/roommate, as soon as I found out I was chosen for Q-STAGE. We both decided that this should not be a one-person show and that we should have at least two actors be part of the show. I asked Jen Buckhout and Donn Saylor to be in my show giving them very little information about their characters and I’m so fortunate they still said, yes! Once I knew who was involved the story came alive in my head. I started to create characters and storylines and the final product turned out better than I expected. With my art, people around me inspire me and I’m so happy to be surrounded by so many awesome spirits. I think the BGM crew contributed more to this project than they know.

Why do you feel it is important to share this story/the story(ies) of your performance with the community?

Being a bigger person in the gay community can be difficult. Many gay men, not all, like to fat-shame. Being Chicano in Minnesota is also challenging. I’m a minority here, whereas in El Paso, TX, I was not. The Big Gay Mexican Show, in a way, is fighting against stereotypes. I want to spread the message that being different is a good thing. Being different is beautiful.

What aspects of your queer identity do you hope to express through your Q-STAGE piece?

Although BGM deals a lot with identity, I want to bring out more the struggle I have with relationships with other gay men versus the struggle I have with myself as a gay man.

Talk about your background as an artist. What sort of artistic experience are you bringing to this production? Have you been involved with 20% Theatre in the past and, if so, in what ways?

I consider myself a performance artist. I have written and performed art pieces in various cabarets throughout Minneapolis. In my pieces I always include dance and song because I always wanted to do musical theater. When I first moved to Minneapolis and started auditioning, I began to realize that I was going to have a hard time being cast because of who I was: a big, gay Mexican. So eventually I started writing my own work because if they weren’t going to let me sing and dance then I was going to have to make my own opportunities myself! I have not been involved with 20%Theatre before but I am so grateful to be involved now. The work 20% Theatre does to celebrate queer artists is incredible. I’m so happy they exist because the artist they promote, such as myself, need to be heard!

What social issues are important to you and how do they inform the art you create?

Equality is important to me. I want everyone to be treated the same, to have the same rights. With my work, I tend to focus on body image and positive self-esteem, and the fact that these issues also effect men. Living in a society that focuses a lot on physical beauty is hard when you yourself do not fit in with what is considered the norm.

What other artists or performances have inspired you over the years?

Recently, Taylor Mac, who had a one-person show at Guthrie in April, inspired me. Taylor Mac also wrote the play Hir that was produced at Mixed Blood Theatre. Taylor has a very clever way of bringing out serious issues but adding a twist of comedy and fun to them. I think that is genius. It’s a way to inform the audience but also allowing them to enjoy themselves.

Are you working on any other projects or are there others you hope to work on?

I am in the works of starting a YouTube Channel. At first it was going to be The Big Gay Mexican Show on video but then I decided to expand myself and create another character. My new character is a cow named Vaco La Vaca. Vaco is a genderqueer cow. It’s in the early stages of production but so far Vaco is a lot of fun!

What is your favorite hangout spot and why?

I love the 19 Bar. I love the atmosphere and the people. In my opinion it’s the one gay bar in Minneapolis where I don’t feel left out.

When you’re not deep in Q-STAGE rehearsal and development, how do you spend your time? What are some of your hobbies?

When I’m not working on art I like to go on long walks. Its one of my favorite things to do.  I also go to a lot of theater shows; I like to be surrounded by theater so I go to as much of it as possible. But mostly I like to stay home and just relax; life can get so busy that sometimes being at home can feel like paradise.

Click here for more information about The Big Gay Mexican Show and other performances in our 2016 Q-STAGE: New Works Series!