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InViolet: Do you have a favorite InViolet memory you can share?
Juan: The first meeting after the recent election is definitely a moment that stands out to me. The company showed up to the meeting a bit disconnected with our bodies. It was a somber meeting. It was clear that we were each yearning for something to snap us awake. I saw comrades shell shocked. I saw friends disjointed with reality. I saw artists questioning the purpose of art. I then saw what comrades, friends, and artists do which is help each other rise to the occasion. Clarity of a new direction for the company came out of it. I am looking forward to the next 10 years and beyond for the company.
InViolet: You grew up on the Lower East Side and have spent long stints living and working in both Chicago and NYC. What are the draws and challenges of each?
Juan: I have loved my time in Chicago. Chicago is where there is no tier system when it comes to art. The work is the priority regardless if you are at a 700-seat house like The Goodman Theater or a 47-seat house like The Gift Theater . The pay is different, but EVERYONE goes to support each other’s work. The fact that Goodman Associate Artistic Director Adam Belcoure , Victory Gardens Artistic Director Chay Yew will show up to witness my non equity production of Don Chipotle speaks volumes to their effort to support the Chicago community. Respect to your fellow artists is most important, work ethic comes second, and talent is the LAST quality that people look for. If you are an asshole, it gets around pretty quickly. You better be one talented asshole in order to continue to work. It has happened where someone’s talent can veil their disrespectful actions, but all it takes is one person to come forward and with the tool of social media the community can rally together. Last year’s Not In Our House initiative led by Laura Fisher and Lori Myers is a prime example of that.
New York City is where I grew up. I just look at it as home. I don’t look at it as New York City the way others see it. Time away has given me time to see the city for what it has to offer.
I trained at Maggie Flanigan Studios in NYC, which was an extraordinary experience for me. Though I completed the program 8 years ago, I am just now understanding what was taught. Patience, persistence and perseverance is how I look at my time in New York City. I recommend everyone to just live for one year in New York City because you will learn a lot about yourself. The make up of the city has changed, but there is a tenacity of New Yorkers that can never be extinguished.
I have been back in NYC since September due to some changes in my life that include my family and my career. I have returned with a new sense of purpose that has me aspiring for more from New York City.
InViolet: We’re excited to hear that your acclaimed solo show Empanada for a Dream is looking to be brought back for an official NYC premiere! For those who don’t know the play, can you tell us a bit about it? EFAD has performed nationally, what’s on the horizon?
Juan: Empanada for a Dream grapples with the question of “How can you love someone that has hurt so many people?” Growing up in the Lower East Side of Manhattan, I had to deal with all of the stereotypes that come with being Colombian-American. When I turned 11 is when all the lies that had been said about my family had been exposed to be true including the role of my family in the cocaine drug trade. That began a journey of shame and anger I had for my family. I had to grow up by getting out. Telling the tales of my family became a way to begin the long overdue healing process initiated by the deaths of my heroes Tio Alvaro and Tio Chepe.
I have performed the show with The Latino Theater Company at The Los Angeles Theater Center , Teatro Vista at 16 th St Theater in Chicago, Victory Gardens in Chicago, Le Moyne College in Syracuse, La Jolla Playhouse in San Diego, Ballybeg and terraNOVA Collective soloNOVA Festival here in NYC. The opportunity to perform it at places like East Morton High School or The Chicago Cook County Juvenile Detention Center has been the most rewarding experience due to the stories that are shared with me from those teenagers.
InViolet: Your next solo show is underway, yes? What is this one exploring? Where are you in the process?
Juan: My next solo play is called Finding Pancho . It explores my time raising a child, which triggers my relationship with fatherhood while searching for my father in Bogota, Colombia after he’d been missing for over a year.
I began writing it for the inaugural El Semillero Playwrights Unit for ALTA’s Victory Gardens residency in Chicago. It led to a 25 min performance as part of the Pivot Arts Festival in Chicago. This summer the play will get continued development in D.C. during my residency at 1 st Stage Theater while performing EFAD.
I will continue to develop it with Alex Levy who developed and directed Empanada for a Dream . A lot has changed in our lives since the initial workshop production of EFAD in 2012. It will be interesting to revisit our artistic relationship at this point in our lives when exploring the question of “What does it mean to be a father?”

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