Miami One Acts: Illuminating Experiences
Hi, there! I know this may seem like a weird thing to have on a professional website. I’ve found myself wanting to write more, but struggling to write the plays I’ve had rolling around my skull for the last few years- so I thought I’d bring back good old fashioned blogging. There’s no schedule to this; no plan. Just me wanting to share another part of my artistry (and life) with those who may only meet me through this strange tool we call the internet. So for my first ever (and I mean Ever™) blog, I’m going to just talk about a recent experience: Miami One Acts.
Now, if you’re familiar with the theater scene in South Florida, you probably already know what Miami One Acts is. It’s an event hosted by the Boom Ensemble, originally created by Ricky J. Martinez. I’ve known Ricky off-handedly for a couple of years. I really got to know him when he worked as the fight choreographer for a show I was starring in; Ms. Holmes & Ms. Watson: Apt. 2b by Kate Hamill (I had the luxury of being the Sherlock Holmes), but I’ve seen him perform in HooHah at Main Street Players and Charlie and the Chocolate Factory by Loxen Entertainment. I’ve been to at least one of his play readings; the last one I remember being the one he did for Pride last year. If you don’t know Ricky J., you don’t know theater.
Aaaanyways…. 14 years ago, he came up with this crazy idea of having a 2-day festival of all local playwrights and local actors. I’d seen a few in my time in college and my first two years out, but for some reason I never got the opportunity to actually be a part of this festival. Until this year. Surprisingly enough, though I am actor-forward, I do tend to branch out a bit across the theater scene. I act, I stage manage, I work in props, and now, I get to officially say I also direct. For my first year participating in Miami One Acts I ended up directing Alicia Cruz’s Alternative School for Girls. Then, Pete Rogan reached out to me to perform in the show he was directing: Delicates by Samara Siskind. Both pieces were absolutely brilliant.
First, let’s talk about Alternative School for Girls. Written by Alicia Cruz, my cast was Francian Sonique, Susanna Ninomiya, Taylor Babineaux, Catherine Verblud, and Catherine Magarino. I just have to say- if you’re thinking of casting these girls in a show: do it. They had so many initial impulses and made such strong choices from the beginning. And when there was a struggle to interpret, they were so receptive to my feedback and ideas. If you don’t know what this show is about, it basically details a classroom of girls in an alternative school right before an ICE raid on their campus. It’s intensely powerful. Cruz has this ability to intertwine the comedy of high school girls interacting, with the very real fear of school shootings and ICE involvement. Her show, to me, doesn’t have a normal beginning, rising action, climax, falling action, resolution. It ends right at the climax. It captures the feeling almost everyone has every day in this state- and this country. “Will my friends be okay? Will my family? Will I?” No one knows. Just like no one knows how her play truly ends. Overall, such a beautiful and rewarding first directing experience. I know the show was only 11 pages- but still. It’s monumental to me.
Now, for Delicates. Oh, boy. This one is also a hard-hitter. (TW: mentions of abuse, sexual assault and self harm). Siskind is such a wonderful writer. Delicates is the definition of “show, don’t tell.” It follows two women- Jess, a young college aged girl, and Paula, an older hispanic woman, meeting in a 24-hour laundromat in the middle of the night. Jess is hesitant to open up at first, but Paula eventually breaks down her walls and brightens her day. Throughout the play, you hear mentions of sexual assault, domestic violence, and even see visuals alluding to self harm. Playing Jess, this was something I had to confront within myself, as well. Not to get too into the hairy details, but I’ve struggled with some of the same things my character, Jess, has struggled with. I’ve never really been open about it before, but under the direction of Pete, Siskind’s beautiful writing, and the wonderful support and relationship between me and my co-star Madelin Marchant, I felt more confident to tackle those memories. To take control of those distant actions and events that were weighing me down. I guess what I’m really trying to say is; theater does change lives. It IS that deep. And I joke around a lot, “theater kids this, theater kids that, blah, blah, blah,”... But there’s nothing that can trump the truth. Overall I just wanted to write to say; never stop doing “small” theater (whatever that means). And never stop being open and exploring parts of yourself. Even the dark ones. Usually they’re hiding something illuminating.
Thank you for reading, if you got this far. And thank you to everyone involved with and who came to Miami One Acts. I hope to see you all at the Winter Session.
Poster + Cast info for Alicia Cruz’s Alternative School for Girls - Designed by Me. No AI.
