The Haitian American playwright and screenwriter from Miami made her Off-Broadway debut earlier this year at WP Theater with her play The Waterfall. Next, at Barrington Stage Company, in a co-production with Goodman Theatre and Hartford Stage, is her newest work, Dead Girl’s Quinceañera, taking the stage Aug. 5-29.
What is the elevator pitch for Dead Girl’s Quinceañera?
Latina Mean Girls meets Agatha Christie. Maria goes missing at her quinceañera. Is she dead? Three friends actively try to find out, taking charge of their lives and their fears. As long as possible, we enjoy the pleasure the young women find in their friendship, in their love for procedurals, and in the joys and humor of their friendships. It’s a space resonant of smart young women—and of the joys of quinceañera celebrations and fandom.
What originally inspired this show?
My best friends inspired the play. While no one went missing, a lot of what happens in this play comes from a truthful place. I believe young women often help each other survive, and I wanted to honor the power of young friendships.
What’s the most interesting thing you learned writing this play?
While the words “female empowerment” are challenging and cringe, in this moment these young women are living in a country that actively has ripped them of their rights, a country that spits in the face of their cultural pride, and yet they are so powerful. That is inherently empowering to witness.
What’s a recent moment that reminded you why you choose to do theatre?
I recently debuted my play The Waterfall Off-Broadway at the WP Theater. I was really moved by the response from Black women, women of color, and women in general. It’s interesting, because the play was a character-driven drama as opposed to an overtly political play, but the argument of the play inherently touches upon bodily autonomy, and that really struck a chord with women. We all had different opinions on it and that was refreshing. Watching women in the audience leave the theatre and debate and process their choices was dope. That is theatre! It is the singular democratic forum of storytelling. That Oskar Eustis TED Talk really does hold up.
What is your earliest theatrical memory?
I played one of the little old ladies in The Producers. I loved walking offstage and putting on the glasses.
What theatre company doesn’t get enough attention?
What’s the craziest thing you’ve ever done or seen on a stage?
Make Believe by Bess Wohl. Watching the kids act onstage was terrifying and exciting. Bess really inspires me to think outside the box. She’s sensational.
What would your younger self think of you now?
She would be so insanely happy. She would cry. She would be proud.
If you could change one thing about theatre, what would it be?
I would make the American theatre funded through the government, like so many other countries. A lot of great companies are struggling. I’m grateful for commercial theatre because they have been producing innovative and exciting work to fill in the gap (i.e., John Proctor Is the Villain) that many nonprofit organizations can no longer fill. However, that is not sustainable. We need to hold politicians accountable.
If you didn’t work in the performing arts, what would you be doing?
It’s funny, I never write about the climate crisis, but it’s really important to me. I once worked with WE ACT for Environmental Justice (West Harlem Environmental Action, Inc.) to help those in public housing reduce their bills with solar panels. I would likely be working on initiatives like that.
Finish this sentence: It’s not theatre unless…
The consequence of action proposes a moral argument.
