BY LUCIA MAURO
It’s easy to understand why talking is at the heart and soul of Teatro Luna–a theatre devoted to showcasing the writing and acting talents of its all-female Latina ensemble, as well as other artists who speak to the diverse Latin American experience. An interview with co-founders Tanya Saracho and Coya Paz at a Wrigleyville café began with breakfast and lasted well past the lunch hour.
Teatro Luna started in early 2000 "in a circle," as these poetic women describe: "Ten Latinas talking–just talking…recognizing their similarities, realizing their differences." Saracho and Paz are writers-actors who became disenchanted with the limited and stereotypical Latina roles (from domestics to home girls) available on stage and film. Ironically, because Paz has more Anglo features, she found herself getting cast in Caucasian "girlfriend" roles–another level of frustration.
They met when Paz held auditions for a Costa Rican play she was producing at Chopin Theatre. The two bonded and decided to take control of their artistic destinies by forming an all-Latina theatre group.
"We didn’t want to just start a theatre company," says Saracho, who was born in Los Mochis, Mexico. "We wanted to create a special place for Latinas–like a cocoon where we could develop our own voices."
Adds Paz (who was born in Peru and grew up in Ecuador of Russian-Jewish/American heritage): "From the beginning, Tanya was insistent on building a home. And, in terms of artists, we were looking for combo-platters–for hyphens (writer-actor; actor-director, etc.)."
Most recently, the seven-member ensemble settled into its new home, a storefront space previously occupied by Thirsty Theater at 556 W. 18th St. in East Pilsen. The world premiere of Saracho’s class/immigration comedic drama, Kita y Fernanda, has been extended through April 13. The company envisions the theatre as a Latino cultural arts center. In addition to theatre productions, the company will also host visual-art exhibits, music and readings.
Since early 2000, when Saracho and Paz got together to establish the company, Teatro Luna has grown at a rapid pace. They initially invited Latina artists to meet and discuss their own experiences and explore their identities–whether they were born in the Humboldt Park neighborhood or in Colombia. These charged–and therapeutic–dialogues led to short comedic pieces that Teatro Luna performed in October 2000 in a mix of English and Spanish as Probaditas (Little Tastes) at Victory Gardens Theater. This showcase was such a success, the ensemble presented Mas Probaditas at Victory Gardens in December 2000.
"We felt, early on," shares Paz, "that we had to check in with members of our community. We didn’t want to work in a vacuum. We addressed the question of, as Latinas, what do we have in common? Not skin color, not nationality. What we found is that we are artificially put in a box and have to negotiate these pre-conceived ideas of being Latina."
Essentially, Teatro Luna argues against homogenization. "We want there to be room for contradictions," stresses Paz. "I’m against the idea of the melting pot. I believe in preserving and understanding our differences."
Saracho even addresses the complexities and history surrounding racism among Latino cultures–a key issue in her new play. Teatro Luna seeks Latina artists who will tell these layered stories in many different ways.
The troupe had an opportunity to work with the New York City-based INTAR, the oldest Hispanic theatre in the United States, the summer of 2001. They collaborated with a director to shape their stories into a larger ensemble piece. And, despite encountering hecklers at their shows, Teatro Luna received an encouraging review in the New York Times.
They then re-grouped and began to build the theatre company and their process. Right now, their style of developing ensemble pieces consists of seven steps: 1) the women share stories and memories in a brainstorming session; 2) they bring their written stories and ideas to another session; 3) they workshop in a rehearsal phase in which they team up in groups of two or four and experiment with different dramatic approaches to the same story; 4) various versions of the story are presented to the ensemble; 5) once the format is chosen, scenes are then improvised and videotaped; 6) scenes are scripted by the ensemble; 7) changes continue to be made throughout rehearsals.
This is the format Teatro Luna followed for their next story-based production, Dejame Contarte (Let Me Tell You), which ran in January 2002 at the Storefront Theater. The co-founders want to clarify that they do not do sketch comedy. These are ensemble-based stagings and, as with Kita y Fernanda, a full-fledged play. Saracho and Paz have found that they have been building a loyal Latino following since their first production.
"People claim that Latinos don’t go to theatre," notes Paz. "But Latinos don’t go to theatre because there are no Latinos on stage. Yet there is this vibrant Latino arts community that is not visible. The talent is there. One of our main goals is to create opportunities to showcase the talents of Latina artists and expand the range of Latina roles on Chicago stages."
When Teatro Luna moved into its Pilsen space (where it has a one-year lease), company members did the painting and dry walling. The landlord agreed to waterproof the basement (which, previously, had experienced flooding).
"The work and money involved in fixing up the space almost put us out of business," acknowledges Paz. "But we put on another Probaditas and raised all the money we needed for improvements."
Continues Saracho, "We have our not-for-profit status and are currently looking for qualified people who will help Teatro Luna grow: writers, administrators, stage managers, experts in grant writing. And we are very committed to the community."
In addition to stage productions, Teatro Luna is set to perform in "Estrogen Fest" at the Storefront Theater and other national women’s festivals; tours colleges, holds a monthly play-reading series, does at least one free show for youth in an under-served area, and presents free workshops for community organizations.
Saracho shows me the company’s logo and announces with conviction: "See, it’s a full moon–not a half moon!"
Teatro Luna, 556 W. 18th St, 312/683-4248, teatroluna@aol.com, www.teatroluna.org.