An Interview with Director Antonio Sonera

Only days away from the opening of Boleros for the Disenchanted and already getting wonderful responses from preview audiences, we thought we would bring you an exclusive interview with the director, Antonio Sonera. A native Portlander, Sonera caught the theatre bug at the early age of 12 when his art teacher suggested he take a drama class. Sonera later studied acting at the American Academy of Dramatic Arts in Pasadena, California and worked for short periods outside of Oregon in both Minnesota and Massachusetts returning and establishing himself in the theatre world back home in Portland. His first show on the Miracle stage was in 1991 with a role in Our Lady of the Tortilla, which was followed by his directorial debut on for Miracle’s Christmas Cuentos. Twenty-one years later, Sonera brings together another talented team as director of José Rivera’s Boleros for the Disenchanted.
_______________

Miracle Theatre audiences know your work, many of whom have gotten to know you along the years, but can you tell us a little about yourself?
I was born and raised in Portland Oregon. My father is from Santurce, Puerto Rico but moved to New York when he was 12 and then moved to Portland when he was 19. My mother is from Portland as well.

When did you discover the theatre? 
I was 12. I was taking an art class; drawing and painting were my very first artistic loves. Somehow my art teacher convinced me that I should take a drama class. I was terrified. I didn’t think I could ever get up in front of people and act ... My first week of drama was exhilarating. I went home and told my mother I knew what I wanted to do the rest of my life. “I want to be an actor” I declared, and she said “oh that’s great, honey” — Mom was always very supportive. My drama teacher was Adele White, and she told me that if I wanted to, I could have a life in the theatre … well, she was right. What is fun to note is that years later, I would get to direct her daughter in the world premiere of Rocket Man for Baseroots Theatre Company.

When did you first learn about Miracle Theatre Group? 

I think I actually first met José in 1990 when they were auditioning for a production of Roosters. I came to audition but found out that I had a major conflict and that it could not be worked around. But I came back the next year and auditioned for Our Lady of the Tortilla. That was my very first show at the Miracle in the spring of 1991. In December of that same year I directed my very first production. It was called Christmas Cuentos. It may have been one of Martín Milagro’s very first plays if not the very first. It was simple and sweet and I really had no idea what I was doing, but I really enjoyed it.

Can you tell us a few of the plays, programs, events you have worked on with the Miracle?  
I have acted in seven productions, and directed 15 productions. I was Artistic Director for a few seasons and most recently Associate Director on a Theatre Communications Group Future Leaders in American Theatre grant and Creative Director of La Luna Nueva festival. I have been involved for 21 years, and have worked with some wonderful artists and made lifelong friends.

Artwork for
"El Paso Blue"
at Miracle Theatre Group

I loved El Paso Blue because of the music; Life is a Dream because it was a classic and the concept, Mariela in the Desert because I got to direct Olga, True History of Coca-Cola in Mexico because it was a riot in the rehearsal room, never laughed so hard in my life. I think my best work ever was on El Grito del Bronx…and not that many people saw it. But the cast that came together as an ensemble more beautifully than any cast I have ever directed before…they really did become a family as was the cast of How the García Girls Lost Their Accent. They just fell in love with each other, and I fell in love with them, and the result was something really magical. I just have lovely memories of that whole show and the process.

What do you think led you to this type of work? 
Insanity. You have to be a little insane to want a life in the theatre. It is also creative, and the people who are in it are creative. I enjoy working with creative, talented people. I also don’t know how to do much of anything else, nor do I want to do anything else.

What do you enjoy most about your work? 
I love the process. I love production meetings and design conferences and the rehearsal room. I love putting the puzzle that is the story of the play together moment by moment. I love working with actors, and guiding them toward discovery and intention. I love working with designers and figuring out how to enhance the story through design. I enjoy being the director … I don’t know that I really direct … I guide, and nudge, and encourage … my strength is that I surround myself with incredibly talented people and I try to inspire them to greatness. That is what I enjoy the most … that process.

Original artwork for
"Boleros for the Disenchanted"
by Suzanne Tellez

What has been the most difficult or challenging part about directing "Boleros for the Disenchanted"?
You mean besides the fact that it is three locations on a small stage and there are a lot of costumes and props and furniture and limited budget and lots of words and it is a play with double casting and everyone is playing two roles or three in one case and we only have two production assistants and three major scene changes? Nothing really … unless you count my sleep schedule … I could get more sleep.

What have you enjoyed most about this particular piece? 
The people. I have a terrific design team. Peter West and Mark Haack always make such a great team on set and lights. Marychris Mass, who I have known since I was a young man, is a veteran costumer; Sarah Lydecker who is coming through with some great props and furniture on a show that is heavy on both. Cecil Averett is new to me, but such a pleasant surprise, and a wonderful collaborator. Ian Goodrich is such a terrific dramaturg and gives us such rich background information. Verónika Nuñez is my spice! I would love to work with her on every production and she is going to be a fine director herself someday. Amanda Pichel and Caitlin Nolan are our production assistants who are figuring out the details along with Elizabeth Brown who is the most patient and understanding stage manager. Estela Robinson who is keeping us all in line and on task … and got us a great cot.

Cast of "Boleros for the Disenchanted"
(left to right): Logan Loughmiller, Kylie
Clarke Johnson, Luisa Sermol, Ted Schulz,
Nicole Accuardi and CarlosAlexis Cruz.

There are also six really wonderful actors. My young couples Nicole Accuardi, CarlosAlexis Cruz, Logan Loughmiller, and Kylie Clarke Johnson who get to fall in love … and it is so much fun to watch love happen. Then there is Ted Schulz who I worked with in El Paso Blue 12 years ago. Teddy is a veteran, and is always fun in the room and has great stories. I also get to work with another veteran, Luisa Sermol for the very first time, and she just happens to be one of my best friends in the world. So that is very special. The people … that is what I enjoy … and the fact that it is a beautiful script.