By Dale Reynolds
Being the son of a famous Latinx-activist can be difficult when a young man is trying to find his own way. Lakin Valdez, appearing somewhere in his early-to-mid 30s, is finding his path alright, both as an actor and as an activist.
Currently starring in a play written by his father Luis Valdez, Valley of the Heart, at the respected Mark Taper Forum in downtown Los Angeles, the working actor shows his chops here. He was born in Salinas, on the Central coast of California, still agricultural John Steinbeck Country. Not surprisingly, he began acting as a child, living as he did with an activist theatrical family, who founded and ran EL Teatro Campesino (TC). “I was granted a formal introduction in a community of artists, with others in our political reality, during the 1960s and ‘70s, performing works that dealt with the changing reality of the largely Latinx field workers.”
Luis Valdez at the Teatro Campesino in San Juan Batista. Photo Credit: Joanne Ho-Young Lee
In addition to being exposed to the political movement being built there, he was exposed to professional actors who had taken residency there. “By osmosis, I picked up the tools to build a foundation for my own work. We conducted workshops regularly, along with summer workshops for youth — children of the actors and the workers. I was one of many who participated, then performing onstage with Teatro Campesino, and built my skill-set. Not everyone was comfortable with our process, but they learned.”
The younger Valdez is proud of this production of his father’s as a testament to their history. The elder writer/director was commissioned to write this play as an homage to the survivors of the infamous Japanese-American round-up and placement in concentration camps during World War II. In fact, the company has produced a number of new shows over the past dozen years, of which Valley of the Heart signifies a shift for TC as it was a special commission in 2016.
“We had a successful run in that first incarnation, although I wasn’t in it then,” said Lakin. “Here in L.A. we kept some of the previous cast members, but I was cast in the lead role.”
The political and romantic drama is set from 1941-45, about a Latino family who work for Japanese-American owners of a large farm. When the infamous U.S. government Executive Order #9066, issued on February 19th, 1942, went into effect, forcing over a hundred-thousand citizens and non-citizens into prison camps, the young lovers of the play are separated. The bulk of Valdez’ drama is how they cope.
This time around the play is a co-production with Teatro Campesino and Center Theatre Group, similar to the deal they had in last year’s excellent production of Valdez’ Zoot Suit. “This is the same production from two years ago, but brought to a higher level here.”
The elder Valdez has this drive and passion for California history, and his personal histories, combining them into a new form, one of many he’s developed in his Historias, based on specific histories. Zoot Suit was one of them, an amalgam of many forms of theatre, which are vivid and unique. Valley is a blend of personal memories coupled with historic backgrounds.
Lakin Valdez, Photo Credit: David Lepori
As a child, Lakin grew up on a ranch with his family, on property owned by a Japanese-American family. Having matured with neighbors and workers who were Arab and Filipino, in addition to being Japanese, Luis Valdez has fought the injustices of that time. “It took him thirty or so years to generate it into an actual dramatic narrative,” Lakin stated.
Lakin believes the play is epic in how it authentically looks at a five-year period of conflicts during WWII. “On a micro scale, it shows us how these two communities come together and overcame the tragedy that reflects our multiple cultures, on people who made an effort to discover themselves in a new light,” explained Lakin. “It’s an opportunity for us and other cultures to redefine their own histories through a new lens. To offer a new perspective, which goes beyond that time of separation and displacement.”
Lakin was married last August after an eight year relationship, but with no children as of yet. He has only recently begun pursuing television and film work in L.A., after some years doing theatre in Chicago, where he and his wife met.
“For years I’ve observed the film process as an actor, which is exciting. I had a powerful upbringing and I am learning more about the Industry than just being in front of the camera,” he stated. “A large part of this future remains a challenge as there aren’t yet as many opportunities for us Latinx peoples. Right now, theatre is providing more opportunities for us. Mostly as villains, unfortunately, although that is changing. Most of us are capable of playing characters who aren’t just maids, gardeners, or gangsters. I believe in fighting stereotypes, creating characters that are more dimensional. Just look at Damién Bichir (20ll’s A Better Life) or Catalina Sandino Moreno (2004’s Maria, Full of Grace), or Salma Hayek (2002’s Frida), all nominated for Academy Awards.”
Getting back to his excellent work in Valley, “There’s a tendency in our country to overlook important periods in which we learn how to move on; it’s cyclical. I hate President Trump. I even hate having to use his name. But we have this tremendous opportunity to teach awareness of this particular history.”
Lakin adds, “I’ve been surprised in talking to our audiences, on how many already knew of the internment camps for Japanese citizens. These folk have expressed their hunger to learn more to see how it is reflective of their own lives. I think the power of our play lies in its ‘agitainment:’ demonstrating the reality of our ability to teach audiences just how close we are today to this play – how groups of people are demonized, targeted and scapegoated.
The history of America is about how most immigrant populations have been targeted by nativists– isolated, controlled– and put to the test once again. We find ourselves with lawmakers who are shameless about racism, xenophobia, communities of color, especially Southern and Central Americans [and] Middle-Easterners who find themselves in survival-mode for their families.”
Lakin further states that under the Republicans, the examples of using law-and-order these last two years have created a wake-up call for the radical shift against us. “My God, the displacement and separation of families is just insidious. We’ve been having conversations with the Japanese-American community, who have finally come to grips with their own persecutions, forcing us to not remain on the sidelines of our own grievances. Once again, we’ll find ourselves with concentration camps just for us as they have no shame about their eagerness to create new ones. This production highlights that, and I find it vital for me as an artist – a powerful impact. As an actor/activist committed to pulling it all together as a mandate, it is providing meaningful discussions. Theatre is Community and Community is Theatre. I’ve seen it happen before.”
Lakin Valdez’ career has encompassed acting in San Jose, Chicago, La Jolla, San Diego, San Marin, San Francisco, Salinas, and communities in-between. His film and television work has included the web series, Cutting The Cord, The Narc, Ballad of a Solider, Young Indiana Jones, The Cisco Kid, and Fort Figueroa.
Clearly a man to be reckoned with.
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