This transcript was automatically generated and might contain errors.

[0:00] Martín Acuña: Hi, everyone. I am Martín Acuña, and you are listening to Backstage Talk.

[0:16] Martín Acuña: Jonathan Larson asked, how can you make someone take off and fly in one of his songs from Tick Tick Boom? And I, for the past two years, have learned one way to do it, through the power of community. Welcome to the Latinx in Musical Theatre Special for a Season 3 of Backstage Talk, where we will be featuring artists from across all positions in musical theatre, from several Latin American countries and different Latin heritages. I am proud to showcase my Latinx family. I hope you enjoy.

[0:51] Martín Acuña: Hello, everyone. Welcome back to another episode of Backstage Talk. Today's guest is Juan Ramírez. He is a writer for arts and culture reviews, features, and interviews for several publications, and will continue to do so until the very last person is annoyed. Thanks to his MA in Film and Media Studies from Columbia University, he has suddenly found himself the expert of queer melodrama in Venezuelan cinema, and is figuring out ways to apply that. He writes constantly for Theatrely, for the New York Times, and a lot of other news outlets, so I am really excited to have Juan over for this episode. Hello, Juan. Thank you for being, and welcome to Backstage Talk.

[1:41] Juan Ramírez: Hi, hi. Glad to be here. The rumors are all true, what you just said, and anything else you might have heard. All the rumors are true. All of them, why shouldn't they be? I love that. So, one of the first things I want to ask you is, what made you choose the thespian path in life?

[2:02] Juan Ramírez: Um, you know, I don't think I had much of a choice. I feel like as soon as, you know, I mean, I'm a 90s baby. I grew up during the Disney Renaissance, when all of these Broadway stars were like secretly singing to me my whole childhood, um, secretly because I didn't know that it was like Judy Kuhn, etc., um, who was Pocahontas. I think, I don't know, I was just always obsessed with like the, I don't know, the, I don't want to say glitz, but like the showmanship, and like the razzle-dazzle of Lion King, of Hercules especially, which is, I think, the movie that put me on to just arts in general, like music. That's the one that I remember like learning all the songs to, and all the little dances, and, you know, how the muses interacted with each other.

Um, that one put me on to like film because I think it's edited and just, you know, drawn and recorded so beautifully. And then eventually, one thing led to another. Phantom came into my life, Wicked came into my life, Hairspray came into my life, uh, and it's just, that's how, that's how it started in my early thespian, uh, path. I love it. So how did all that take away into writing, journalism, being a critic, and musical theater?

[3:22] Juan Ramírez: Yeah, so I had never actually really given much of a thought about writing. I think it was my mom who was always telling me that I was a good writer because I would show her like my, you know, my school essays and stuff like that. And then I remember I went to a performing arts middle and high school for communications, which at the schools there meant like film, TV, journalism, speech, and debate, and everyone sort of, you know, found their little niche within that. And I originally wanted to be a film director because I thought, you know, I love film, and if you're a kid who loves film, it's like, duh, I'll be a director. And then at some point, I realized it wasn't for me. I didn't have like the, oh my god, I don't know, the stamina to be a film director.

Um, and I was getting sick of the class, and a lot of my friends were in the school's news magazine, and it just became more and more appealing to me. And my mom, like, I think at one point was just like, you've always been a good writer, why don't you just write about film or write about art? So I applied, I joined, I immediately got on the arts entertainment beat, became the editor, became a columnist, um, started reviewing, like, I remember I reviewed a Kid Cudi concert for in, back in high school. Um, I reviewed, like, I did a feature on American Horror Story season two. Uh, and yeah, I just realized, I mean, I love arts. I love being in proximity to arts, whatever that looks like. Um, and if, if people like my writing, and I don't completely hate the act of writing, I figured why not?

And then sort of didn't do much of it the first semester of college. I actually went abroad because I went to Northeastern, which is crazy, and they will fully send you abroad your first semester of college. And then when I got back, uh, it was Boston winter, not much to do, didn't know too many people, picked up a copy of the Huntington News, which is the school's, um, independent student newspaper, sort of got my way back into it. I wasn't doing much criticism or anything like that. And then what really sort of, you know, lit a fire under me to get back into it was, there was a screening of the film Persona that was playing at the Coolidge Corner Theater that was sold out. I called the box office, asked, hey, it's, it says it's sold out, but are there any, like, you know, standby tickets or whatever?

And the very rude box office person was like, no, it's sold out, hung up. So I emailed their press agent, told them I was covering for Huntington News. They got me in. Then I emailed Huntington News and was like, hey, I'm gonna cover this. They were like, what? So after that, I realized that a good way to see things I want to see are for free is by writing about them, which is the more cynical way of describing it. But yeah, that is, that is sort of what got me back into it. And I just saw so much theater in Boston, which is an amazing, has an amazing theater scene. And then one thing led to another. And now I'm here in New York doing something that I thought was like such a pipe dream back then, but then has more or less become like inevitable in a way, just in the way that I've been doing this for like seven, eight years now. That's amazing. But that's, that's how it all happened.

[6:44] Martín Acuña: And now you're living the New York life, going to Broadway shows, reviewing Broadway of Broadway, film, everything.

[6:49] Juan Ramírez: Too many Broadway shows, Martín. It's been what, 17 or 18? I didn't review all of them this season. There were a couple that literally just logistically I couldn't, I couldn't. But yes, yes, I am living the Broadway dreams.

[7:08] Martín Acuña: That's great. So what is your approach to journalism writing and critic in musical theater? How do you start? How do you approach a new work, a revival, all of that?

[7:21] Juan Ramírez: Okay. I think in general, something I struggle with is objectivity in writing, which I guess is what draws me to criticism. I think it is funny to say the least to be still performing objectivity in the year 2022. I feel like, you know, I mean, not to put too fine a point on like, you know, living in the post truth, post 2016 era or whatever, but it's like, we all know we all have opinions and we all have biases and I don't see much of a point in, in hiding them. I'm not a reporter. So I'm not, you know, I'm not down at city hall, like getting the scoop from the mayor and just, you know, transcribing what he said and, and, you know, putting that out there for people to learn like that. So I don't try to take myself out of my writing too much.

And I think I appreciate, I think the best voices in criticism are the ones that acknowledge that it's, it's a person who, who experiences these things and has certain reactions. You know, if we, if we have to be alive in this horrible hellscape of current humanity, you might as well make something out of the fact that you're alive and, and not take yourself out of something, you know, like it's not, what's a show I just reviewed, uh, Macbeth, for example, on Broadway. It's not a random person who went to go see Macbeth and is now telling you some objective thoughts. No, it was me. I'm the one who was sent there. I'm the one who was writing about it. Why should I take myself out of that equation?

I think, I think, and I think sort of younger writers are leading that charge. Um, you know, someone whose work I really appreciate, for example, is Helen Shaw over at New York magazine, who I think also gets away or not gets away, but is able to do this sort of not that objective writing because she writes for a magazine. Most of my criticism, most of my reviews are for Theaterly, which is a website that, um, my friend from back in Boston, Coby Castle started. And, you know, I think writing for a magazine or more of an online site like Theaterly gives you an advantage or gives you the opportunity to not have to stick to facts that much and, and just sort of make it an essay about your reaction to the show.

So it's different and there, and there's, there's room for both. Like, for example, the New York Times for which, for which I've reviewed a couple of shows, that is a newspaper that is, you know, a paper of record as they say. So when you are reviewing a show for the New York Times, you do sort of have to acknowledge that the readership is, is mostly there for news. So that is some, that is somewhere where I have to be like, okay, acting, let's say this lighting, this costumes, this, and that's very valid. And that's something that like, you know, I have, I have the big book that Ben Brantley edited a few years back. That's like a hundred or however many years of Broadway reviews is fantastic. And you can look at that as an actual record of.

[10:31] Juan A. Ramírez: What Broadway is. And you know, when society collapses and the aliens come back, they can find that book and be like, oh, wow, look what was going on. And that's amazing. And there's room for that. And I do love doing that sometimes. But I do appreciate the opportunity to, you know, write for Theatrely, where I can just sort of, you know, if the lighting didn't stick out to me, I'm not going to mention it. If this one little line in the third act reminded me of something my best friend told me 10 years ago, I have the room to go into this like giant, you know, completely detached whole segment. And hopefully, you know, if my editors don't think, what the hell are you talking about? Why are you going off on this tangent?

You know, hopefully, I think people could read that and say, oh, wow, maybe I'll go to the show and react similarly to something. I think, you know, art is about bringing out emotions and bringing out memories within us. So I think the best compliment one can give a work of art is that it like made you feel something that's not just so concrete. And I will credit actually, I haven't written about film in a minute. But one of my film editors over at Dig Boston, which is an alternative newspaper out in Boston, his name is Jake Mulligan. He followed me on Letterboxd, which is a like film social media tracker website. He followed me there. And he said, look, I've, you know, I've read your, your formal reviews.

Those are great. But then I've read the reviews you write on Letterboxd when you're, you know, very clearly sort of like on the train back home and just like dashing off a few loose ideas without, you know, worrying about who's going to see them about an editor looking over them. Why don't you channel that sort of same energy into your, you know, quote unquote, formal reviews and see what happens. And I think that really sort of motivated me and got me out of this like precious writerly journalistic, everything I have to write has to be this like monolith that stands the test of time. No, it can just be sort of not the first things that come to my head, but following that impulse of this is what I felt. And this is what I mainly took away from whatever it is I just saw.

[12:51] Juan A. Ramírez: Yeah. Yeah, absolutely. You asked about revivals. I think, I mean, it's tough. I mean, we have so many revivals. And if they're not revivals, then they're, you know, screen to stage adaptations. I would say I approach it as, as I do anything else. I don't think there's anything wrong with revivals. I don't think there's anything wrong with screen to stage adaptations. I mean, like, I remember, you know, one of my favorite party lines is to tell people that like, you know, Gypsy, which is my favorite musical, and I think the best American musical is essentially, you know, like a, if you want to read it this way, it's basically like a tabloidy musical about that time period's Kris Jenner. Like, it's about like, this crazy momager who was like, maybe she wasn't in the news back then.

But you definitely knew who Gypsy Rose Lee was if you were alive in the 50s. So this idea that like, all these musicals now are based on intellectual property or bio musicals, blah, blah, blah. I'm like, Oh, hey, listen, Gypsy was a musical about like, a famous stripper. We're like, let's call it what it is. It's amazing. But let's not act like, you know, suddenly, yeah, it's not that we're suddenly better. And if it's not based on that, it's based on the Greeks, or it's based on someone's memoir, or it's based on, you know, whatever, I'm not too. I'm just happy to see theater, whatever it's based on, as long as it's not too soulless. I think if you have an end to a story, and you want to tell it well, then I'm here for it.

[14:34] Juan A. Ramírez: So what piece of advice would you give a younger version of yourself? Um, memorize your social security number, because you will be filling out so many W-9s that your head will spin. I mean, just get used to rejection. It's so funny, because like, I've written a couple of I've written a bunch of things, actually, that I'm very proud of. But I was thinking about this last night, actually, that are usually, I want to say maybe four times in the process of getting something written that are absolutely thrilling, no matter what. One is when you have the idea. Well, the second is when your pitch gets greenlit. The third is when you go see the show, go interview the person or whatever. And fourth is when you submit the draft.

Everything else is really up in the air. You know, because from the pitching end, for every great feature that I land, there are 10 emails I sent, five of which went unanswered, and five of which were passed. And then once you know, the writing process, the scheduling interviews can be a whole nightmare. The interview, sometimes I've had interviews where it's like, it's not my fault. It's not their fault. Maybe we just weren't in the mood to have conversation that day. But it just felt horribly awkward. And I'm just like, ah, it's gonna suck. Maybe it winds up sucking. Maybe it doesn't. I hope they haven't. Most of them. And once you write them, you know, it's like, I've had pieces that linger in the editing process, or if it's for print in the publication process for so long that by the time they come out, I'm like, oh, yeah, right.

You know, I am speaking of revivals, I interviewed Beanie Feldstein for Team Magazine. I think I interviewed her back in like, November. And the magazine came out like two weeks ago or something. So of course, I mean, it's amazing to have it in my hands and everything. But by the time it actually comes out, I'm like, oh, yeah. Huh. Forgot I did this kind of or people ask me like, oh, my God, what did you say about so and so? And I'm like, this was months ago. I can't tell you.

[16:40] Juan A. Ramírez: Yeah. All of a very roundabout way of saying, get used to rejection, get used to patience, like you would not believe every pitch you send out is basically a job application. If especially if it's an editor you haven't worked with before, and you have to do the whole Hi, my name is Juan. I'm a Manhattan-based cultural critic and writer like blah, blah, blah. That's also very specifically like the freelancer hustle. Um, I am staffed as Theaterly's chief critic, but everything else I write is completely up to me pitching an editor and hoping it sticks. And after it sticks, it works out. There's so many people involved in everything, publicists, agents, managers, bookers, like, it's a lot. So just be patient.

Trust that what you are doing might hopefully lead to something. I mean, for example, I recently, you know, befriended and made a really good connection with an editor who I had no idea knew I was living and breathing on this planet, but she reached out and was like, Hey, I read your review of, you know, X show. And I totally agree with your thoughts on X casting. Do you want to interview them? And I was like, I had no idea even knew who I was or were out here reading my reviews like that. So, you know, every now and then something comes along that makes you, it reminds you, Oh yeah, someone is hopefully reading this and taking something away from this and I'm trying to give me money to write more things.

[18:21] Juan A. Ramírez: Yeah. Okay. So you as a writer coming from Latin America, you get to see a lot of shows. Mm hmm. And the big topic for this season is representation and visibility specifically for the Latinx community. So I wanted to ask you, what is visibility and representation for you? Um, you know, I have so many thoughts. I think I have so many thoughts. I, um, I applaud the efforts made recently, um, by, by sort of all the artistic industries in, in, um, increasing visibility and representation. I think, you know, uh, like any other social movement, any other, you know, whatever, like the pendulum sort of swings both ways. And there are times when I believe, uh, we are over-correcting in a certain way, but at the same time, I would rather over-correct and have it go where we're seeing a lot of, you know, quote unquote, visibility and representation that I might not absolutely love than seeing none or seeing the wrong kind.

Um, I think ultimately the solution, sure. The solution to the issue of, of not having enough, um, you know, marginalized identities or identities you don't typically see in the U.S. is to just give, is to, is to start that conversation at the seed with the writer. For example, um, it doesn't mean much to me if like, hmm, there is of course the net positive of casting, uh, Latin and like actors of color in, you know, quote unquote, uh, you know, quote unquote, uh, racially blind roles. But at the same time, it's like, okay, this is like a generic role that you're just so happening to fill with, with a person of color or with, you know, whatever. Um, which I think is great, but I, I, I love when the sort of work comes from within the story itself.

You know, we have like Lin-Manuel Miranda who, about whom I have plenty of thoughts, but I was listening to the In the Heights, um, soundtrack yesterday and I was like, this is beautiful. This is such like a well-written show written for Latinos. Like it's, it's very much, I don't want to say before us, by us, but it is very much like the call is coming from inside the house. That's a show that I think is beautiful. Then we have something else he's done with Hamilton where to this day, I don't understand what we're trying to say by casting people of color in those roles. Again, there is the net positive of, you know, the absolute biggest blockbuster.

[21:01] Juan A. Ramírez: Thank you for having me, Martín. It's a pleasure to be here and talk about the world of theatre criticism and the entertainment industry.

[21:31] Juan A. Ramírez: Growing up in Venezuela, I was always surrounded by film and theatre. It was a natural progression for me to start writing about what I loved. I began with reviews and critiques, and over the years, that passion has led me to work with some major outlets like Theatrely and The New York Times.

[22:01] Juan A. Ramírez: One of the things that really drives me is the representation of the Latinx community on Broadway. It's crucial for us to have our voices heard and to see ourselves reflected in the stories that are being told on stage.

[22:31] Juan A. Ramírez: I think there's a lot of work to be done in terms of visibility. While there have been strides made, we still need more Latinx stories and artists in the spotlight. It's not just about being present; it's about being authentically represented.

[22:51] Juan A. Ramírez: The narratives that come from our communities are rich and diverse, and they deserve to be told. I believe that theatre has the power to change perceptions and bring people together, and we need to harness that power.

[23:21] Juan A. Ramírez: As a critic, I try to approach my reviews with that perspective in mind. I want to highlight the work of Latinx artists and encourage more productions that feature our stories. It's about creating a dialogue and pushing for change.

[23:41] Juan A. Ramírez: I also think it's important for critics to be aware of their own biases and the impact their words can have. We have a responsibility to uplift voices that have been marginalized and to challenge the status quo.

[24:01] Juan A. Ramírez: In my writing, I strive to be thoughtful and intentional. I want to celebrate the artistry while also critiquing where necessary. It's a delicate balance, but I believe it's essential for the growth of the industry.

[24:11] Juan A. Ramírez: The feedback I receive from the community is invaluable. It helps me understand how my words resonate and what impact they have. I always encourage open conversations about representation and visibility.

[24:21] Juan A. Ramírez: I think social media has played a significant role in amplifying voices that were previously unheard. It's a powerful tool for connection and advocacy, and I see it as a way to foster community among Latinx artists.

[24:31] Juan A. Ramírez: There’s a sense of solidarity that comes from sharing our experiences and supporting one another. I believe that together, we can create a more inclusive and vibrant theatre landscape.

[24:41] Juan A. Ramírez: As we move forward, I hope to see more collaborations between Latinx artists and mainstream productions. It’s about breaking down barriers and creating opportunities for everyone.

[25:01] Juan A. Ramírez: Ultimately, my goal is to contribute to a richer narrative within the theatre world. I want to see stories that reflect the complexity of our experiences and the beauty of our cultures.

[25:11] Juan A. Ramírez: I’m excited about the future and the potential for growth. There’s so much talent out there waiting to be discovered, and I’m here to help shine a light on it.

[25:21] Juan A. Ramírez: Thank you for giving me the platform to share my thoughts. I hope this conversation inspires others to engage with the issues of representation and visibility in the arts.

[25:41] Juan A. Ramírez: It’s been a pleasure discussing these topics with you, Martín. I look forward to seeing how we can continue to push for change together.

[25:51] Juan A. Ramírez: Let’s keep the conversation going and support one another in our journeys. The more we talk about these issues, the more progress we can make.

[26:01] Juan A. Ramírez: I appreciate the opportunity to be here and share my perspective. It’s important for us to keep advocating for our community and for the stories that matter.

[26:11] Juan A. Ramírez: Thank you again for having me on Backstage Talk. I’m excited to see what the future holds for Latinx representation in theatre.

[26:21] Juan A. Ramírez: Let’s continue to uplift each other and create a space where everyone feels valued and heard. That’s the essence of what we do in the arts.

[26:31] Juan A. Ramírez: I’m looking forward to more discussions like this and to seeing the impact of our work in the industry. Together, we can make a difference.

[26:41] Juan A. Ramírez: Thank you for this enriching conversation, Martín. It’s been a joy to share my thoughts and experiences with you.

[26:51] Juan A. Ramírez: I hope our listeners feel inspired to engage with these important topics and to support Latinx artists in their own communities.

[27:01] Juan A. Ramírez: Let’s keep pushing for change and making our voices heard in the world of theatre. It’s time for our stories to take center stage.

[27:11] Juan A. Ramírez: Thank you once again for having me. I look forward to what’s next for all of us in this vibrant industry.

[27:21] Juan A. Ramírez: It’s been an honor to be part of this conversation. Let’s continue to advocate for representation and visibility in all aspects of the arts.

[27:31] Juan A. Ramírez: I’m excited to see how we can all contribute to a more inclusive future in theatre. Thank you for this opportunity.

[27:41] Juan A. Ramírez: I appreciate your support and the platform you’ve provided for these important discussions. Let’s keep the momentum going.

[27:51] Juan A. Ramírez: Thank you, Martín, for being such a great host and for facilitating this conversation. It’s been a pleasure.

[28:01] Juan A. Ramírez: I hope our listeners take away something valuable from this episode and feel encouraged to engage with the issues we’ve discussed.

[28:11] Juan A. Ramírez: Let’s continue to uplift and support one another as we navigate the world of theatre together.

[28:21] Juan A. Ramírez: Thank you for tuning in, and I look forward to connecting with everyone in the future.

[28:31] Juan A. Ramírez: Together, we can create a more vibrant and inclusive theatre community. Let’s keep the conversation alive.

[28:41] Juan A. Ramírez: Thank you once again for having me on Backstage Talk. It’s been a wonderful experience.

[28:51] Juan A. Ramírez: I’m excited to see where our discussions lead us and how we can continue to advocate for representation in the arts.

[29:01] Juan A. Ramírez: Let’s keep pushing for change and supporting one another in our journeys. Together, we can make a difference.

[29:11] Juan A. Ramírez: Thank you for this enriching conversation, Martín. I look forward to what’s next for all of us in this vibrant industry.

[29:21] Juan A. Ramírez: It’s been an honor to be part of this conversation. Let’s continue to advocate for representation and visibility in all aspects of the arts.

[29:31] Juan A. Ramírez: I’m excited to see how we can all contribute to a more inclusive future in theatre. Thank you for this opportunity.

[29:41] Juan A. Ramírez: I appreciate your support and the platform you’ve provided for these important discussions. Let’s keep the momentum going.

[29:51] Juan A. Ramírez: Thank you, Martín, for being such a great host and for facilitating this conversation. It’s been a pleasure.

[30:01] Juan A. Ramírez: I hope our listeners take away something valuable from this episode and feel encouraged to engage with the issues we’ve discussed.

[30:11] Juan A. Ramírez: Let’s continue to uplift and support one another as we navigate the world of theatre together.

[30:21] Juan A. Ramírez: Thank you for tuning in, and I look forward to connecting with everyone in the future.

[30:31] Juan A. Ramírez: Together, we can create a more vibrant and inclusive theatre community. Let’s keep the conversation alive.

[30:41] Juan A. Ramírez: Thank you once again for having me on Backstage Talk. It’s been a wonderful experience.

[30:51] Juan A. Ramírez: I’m excited to see where our discussions lead us and how we can continue to advocate for representation in the arts.

[31:01] Juan A. Ramírez: Let’s keep pushing for change and supporting one another in our journeys. Together, we can make a difference.

[31:11] Juan A. Ramírez: Thank you for this enriching conversation, Martín. I look forward to what’s next for all of us in this vibrant industry.

[31:21] Juan A. Ramírez: It’s been an honor to be part of this conversation. Let’s continue to advocate for representation and visibility in all aspects of the arts.