Affectionately known as Junior, Tesoro has created theatre magic for young audiences at Honolulu Theatre for Youth for 29 seasons and counting. Tesoro is next preparing for the world premiere of Uncle’s (Mostly True) Stories of the Philippines (Nov. 3-26), created by Tesoro and the HTY Ensemble.

What’s the elevator pitch for Uncle’s (Mostly True) Stories of the Philippines?

Imagine a road trip through the Philippines in a colorful jeepney with an unreliable uncle as your driver. As the bus jumps across time and islands, Uncle weaves tales as tight as a coconut leaf basket!

What originally inspired this show?

Originally, it was about Floro Villabrille, the undefeated Eskrima/Kali stick fighter, who trained under a “blind princess” before settling down for a humble life on the island of Kauai. The idea evolved, and now Uncle’s tales include cultural icons like José Rizal.

What keeps you coming back to work at Honolulu Theatre for Youth? 

Most of our shows are original, created for Hawai‘i audiences. Our team dives into puppetry, music, film, dance, movement, costuming, illustrating, and devising songs and text. We integrate cultural practitioners and master artists from our community to share their knowledge. It’s a creative potluck! I share what I have, and I can’t wait to taste, hear, and smell what’s cookin’ next.

What’s a misconception about either HTY or the Philippines that you’d like to correct?

I’d like to address not just our theatre, but the “youth theatre” thing. I watched how my sister raised her child. She always spoke clearly, succinctly, and never used baby talk. We do the same in our shows.  People know when they’re being talked down to, especially children. As for the Philippines, my wish is actually my father’s wish: He wanted recognition for the role that Filipinos played while working side by side with Americans during World War II. He is a powerful example of not just physical determination, but of spiritual resolve.

When you create theatre for young people, what’s the most important thing to consider?

My personal considerations are always, “Where is the funny?” and “What will they be in awe of?” When the audience laughs, their heart opens up to receive anything you give them.

What is your earliest theatrical memory?

Eighth grade at St. Theresa’s. Doing theatre was one of the first times I didn’t stutter in school. Growing up an introvert and shy, I would stomp my feet trying to get words out while clenching the sides of my desk with perspiration trickling down my back.

Apart from HTY, what theatre company doesn’t get enough credit?

Kumu Kahua Theatre is where I started honing most of my acting chops. As well as being on their board, I pitched in building, acting, running lights or sound, and always swept the stage wherever we performed. Kumu Kahua takes pride in creating works about Hawai‘i for the people of Hawai‘i.

What music are you listening to?

Salsa music on Spotify! I can share my playlist.

What’s your greatest fear?

Not trying. “Learning from challenges” is a better mindset than holding off for the perfect time. Growth versus atrophy.

Finish this sentence: It’s not theatre unless…

You treat it like surfing. Never turn your back. Be aware of other people around you. Be fully present. Trust the story and your fellow actors, just like you trust the fins on your board will connect with the wave! A good surf session brings the stoke. Good theatre will have them in awe!