By Cris Franco
Cristina Frias is a very busy actor with recent theater credits including Pericles at Independent Shakespeare Company, The Motherf*cker with the Hat at South Coast Repertory, Romeo and Juliet at Shakespeare Center LA and Hamlet with L.A. Women’s Shakespeare Company. Today she’s currently co-starring in the Pasadena Playhouse’s dynamic new production of Josefina Lopez’s masterpiece, Real Women Have Curves where she plays Estela, owner of the tiny sewing factory where this serio-comedy takes place.
Ms. Frias took a break from her hectic schedule to answer a few questions and comment on body image, immigration, and being a “citizen artist”.
CRIS FRANCO (CF):
How would you synopsize Real Women Have Curves?
CRISTINA FRIAS (CFR): It’s about so many things but a major theme is daring to dream against all odds. We portray hard working immigrant women. And although some of them have no papers, they still have goals and desire success in America. It touches me deeply because it’s about finding dignity and integrity in your work. About fighting for the basics in life and not letting the harsh realities realities kill your hopes and aspirations. It’s also about women discovering their own beauty, strength and individuality. Oh, and it’s also very funny.
CF: Real Women Have Curves has established itself as the definitive American-Latina play. With numerous productions done worldwide, to what do you attribute its impact and longevity?
CFR: It’s still relevant. More than ever when you look at what’s happening in our country. We’re the majority minority, yet there’s still so much tension and misunderstanding surrounding us and why we’re here. Why? This land used to all be Mexico! We are all part of the continuing living history of America. Plus, this play is rare — it looks at five, very different Latinas. It allows Latinos to see themselves portrayed on stage. We play garment workers but we could be restaurant or hotel workers today who are still dealing with the life challenges in America: finding identity, acceptance and respect.
CF: What’s your ethnic or cultural background?
CFR: I’m Mexican-American on my dad’s side and my mom’s French-Basque.
CF: When did you get into acting?
CFR: I’m the baby in a family of three girls. I guess my first role was playing the Virgin Mary at the Church Christmas pageant at St. Louis of France Catholic School in La Puente, California. After that I was stereotyped into roles, even in high school. I played Rheba the maid in You Can’t Take It With You which really made my dad mad. So I felt theater was pretty limiting. Then I went to Berkeley and happened to take a Chicano Teatro class with Cherríe Moraga and everything changed. She was a revelation. She’s a radical, Chicana, feminist, lesbian poet from the San Gabriel Valley telling it like it is. For the first time in my life I connected with a writer’s voice. Studying teatro in her class I realized, “Oh, there’s a place for me and my story in this medium.” And I’ve stayed ever since.
CF: How has being a Latina impacted your career? Positive and negative?
CFR: Mostly positive. It has allowed me to explore the richness of what it means to be a Latina. It’s exposed me to the incredibly talented Latino creative community in every field: acting, writing, directing. Each artist helped open my eyes to the beauty and power of our culture. I am who I am today because of being a Latina in theater. There are few negatives, but once while auditioning in San Francisco for The Rose Tattoo, I almost got the role, but was told that my hips were too big. I thought, okay, I’m a Latina and I’m hippy. I thought, I guess my physique doesn’t fit into the mainstream idea who inhabits a Tennessee Williams play. That was a big wake-up call and what it did was force me to work harder. That’s why I keep studying. That rejection fueled my engine.
CF: Is Hollywood’s attitude toward Latinas with curves changing?
CFR: Somewhat. The casting stats aren’t great. We’re still underrepresented in all media. I am getting to play more doctors, lawyers, teachers – but it’s slow in coming. I wish and hope casting agents could see our complexities and see us as real human beings. But even if things aren’t changing fast enough I’m not gonna wait for Hollywood to call me. I’m making my dream come true my way.
CF: What advice do you have for young Latino actors?
CFR: Make your dream come true. Do the work. Take class, get training. Be rigorous in your discipline. And really commit to being what I call a “citizen artist.” Know your writers, directors, producers and form partnerships. Take a class on Chekov or Shakespeare. If you don’t speak Spanish take a class. And learn to do dialects and accents. Seek out Latino and Latina mentors. There are plenty of experienced working artists who want to help. I, myself, do mentoring and can be reached on Facebook. I invite serious artist to reach out to me.
CF: I’ve always heard that in the play “curves” has a special meaning. What it is?
CFR: Josefina said to me that “curves” is a metaphor for diversity and its power. And that big moment when we ladies disrobe and show the world our curves is when our characters release their anger over their oppression and discrimination in their lives. It’s also saying, “Look at me! I exist!” Which is what all Latinos from actors to immigrants are saying to the world today. Like I said, this show is as relevant today as ever.
REAL WOMEN HAVE CURVES plays September 8 through October 4, 2015 at the Pasadena Playhouse: 39 South El Molino Avenue, Pasadena, CA 91101. For all show info & tickets: PasadenaPlayhouse.org.
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