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29 September IN THE HEIGHTS Garners Second Annual ACCA Award
19 September Check it out! Exo Magazine
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18 September VIVA La R.Evolucion!
FOR IMMEDIATE RELEASE Thursday, September 18, 2008 ( New York, NY )--As he stepped to the stage, a few audience members who are inspired by his awareness campaign exclaimed, "Viva La Revolucion!" Luis Salgado, Founder and Director of R.Evolucion Latina, was the recipient of this year's HOLA Award for Outstanding Achievement in Technical Production for Choreography for his work in Seranade at the Jaradoa Theater.
When accepting his award, Luis stated, "We won a TONY in June of this year, and that felt great, but winning this award and being celebrated by 'my people' is something that I truly cherish." He later added, "HOLA is a great organization; and it inspired me to start R.Evolucion Latina. I can only hope that together, our Latino-based groups grow so much that they become world-wide and well known to bring inspiration to each and every generation of young Latino and Hispanic performers." R.Evolucion Latina will celebrate its 1st Anniversary in February of 2009 and Luis Salgado plans to throw a gala in honor of his own arts organization this year. All HOLA members will be invited and Luis added, "R.Evolucion Latina has given back to HOLA with a special $1,000 donation in support of their new ideas and ventures." For more information on Luis Salgado or R.Evolucion Latina, please visit www.revolucionlatina.org. For more information about HOLA, please visit www.hellohola.org. For press and promotional inquiries, please contact: Elizabeth Barry & Associates 16 September Luis Salgado and Antonio Banderas team up for great causeTuesday, 15 July 2008Luis Salgado and Antonio Banderas team up for great causeR.Evolucion Latina Joined Antonio Banderas for the Launch of Blue Seduction with Proceeds Donated to BCEFA (New York, NY) Tuesday, July 15, 2008—Luis Salgado announced that over $20,000 will be raised for Broadway Cares/Equity Fights AIDS through the new perfume, Blue Seduction, launched by Antonio Banderas and Puig. An event was held at Cedar Lake Ensemble last Thursday in collaboration with R.Evolucion Latina to deliver this message to the press. Salgado choreographed a segment with dancers from Ballet Hispanico, STEPS on Broadway, Broadway Dance Center, leading cast members from In The Heights, and the Mercy House, which added a performance element to the premiere.
The young dancers were exposed to a unique pre-production workshop with educational concepts including: culture, history, music and self-awareness. In addition, all dancers received a gift from Luis Salgado, his Latin Fusion DVD, as well as being asked to join R.Evolucion Latina's Children's Workshop during the last week in August. Several celebrities and members of the press were on hand to view the performance. "This was a great way for R.Evolucion Latina and our motto: Dare To Go Beyond to get their names on the map. We were even mentioned by Antonio Banderas, on the popular daytime talk show, The View, the morning of the performance," stated Gabriella Garcia, Co-Director of R.Evolucion Latina and Dance Captain of Broadway’s Chicago. R.Evolucion Latina will be holding a fundraiser on Monday, July 21st, 2008 at 7pm at Repertorio Español, 138 East 27th Street, NY, NY. A reading of "Yemaya’s Belly”, a play from TONY award nominee, Quiara Alegria Hudes, will be performed and proceeds will be directly donated to their upcoming workshop for children who don't have much access to the arts. John Leguizamo recibe un reconocimiento de la Organización Hispana de Actores Latinos El actor colombiano John Leguizamo, uno de los latinos que ha triunfado en Hollywood, recibió esta noche el Premio Rita Moreno a la Excelencia que le concedió la Organización Hispana de Actores Latinos en su gala anual en Nueva York.
En un escenario plagado de actores, actrices, productores y otros miembros de HOLA (por sus siglas en inglés) el actor colombiano fue recibido por sus compañeros puestos de pie, a quienes dijo en su mensaje que 'continúen luchando por el teatro'.
'Me siento muy honrado de recibir este premio porque comencé desde lo más humilde', dijo y acto seguido comentó 'soy de Queens' en referencia al condado neoyorquino donde creció el actor, que ha actuado tanto en cine, teatro y televisión. Agregó que en sus comienzos siempre tenía que interpretar papeles latinos como traficantes de drogas o gangsters, pero después 'empecé a interpretar los papeles que a mi me gustaban, empecé a hacer mis propios proyectos porque no veía que nuestra gente estuviera siendo representada correctamente'. Leguizamo, de 44 años y que debutó en el cine en 1985 con una breve actuación en el filme 'Sangre y salsa' al que le siguió 'Corazones de Palma' de Brian de Palma, recibió el premio que lleva el nombre de la actriz Rita Moreno, la primera puertorriqueña que ganó un Óscar como mejor Actriz de Reparto por su papel en 'West Side Story', que estrenó en 1961. Leguizamo ha ganado fama además por sus actuaciones en Off-Broadway, en particular hay que mencionar 'Mambo Mouth' (1991), en el que interpretó a siete personajes. Entre sus actuaciones teatrales en solitario el actor protagonizó además 'Freak' (1998), nominado a dos Tony y que le valió un Drama Desk y un premio del Círculo de Críticos a la Mejor Interpretación en Solitario. En el evento también se reconoció al actor cubano radicado en Nueva York, René Buch, con el Premio a Toda una Carrera por sus 50 años en las tablas. Los últimos 27 años Buch ha trabajado con la compañía Repertorio Español. Se reconoció además al cubano Eduardo Machado, quien creció en Los Ángeles y ha escrito más de 40 obras de teatro, productor y director. Machado recibió de manos de Meredith Juliá, viuda del actor puertorriqueño Raúl Julia, el premio que lleva el nombre de su esposo. Varios españoles fueron reconocidos esta noche por HOLA entre éstos Angel Gil Orrios, fundador de la compañía de teatro Thalia, por su puesta en escena del musical 'Picasso: FLAMENconde de Orgaz, escrita por el pintor Pablo Picasso y que Orrios adaptó; la actriz Soledad López, y un premio especial a Lorenzo Piriz Carbonell, médico, escritor y cofundador de la Compañía Tespis. También se reconoció a la actriz Xiomara Laugart por su papel de la fenecida cantante Celia Cruz en el musical que sobre la 'Guarachera de Cuba' protagonizó el año pasado, así como al coreógrafo Luis salgado, por producción Técnica, por su trabajo en el musical 'In The Heights' seleccionado el musical del año en Broadway, entre otros actores y actrices. ) 12 September Interview with Andy Blankenbuehler, In The Heights ChoreographerInterview with Andy Blankenbuehler, In The Heights ChoreographerBy movmnt • August 28, 2008
Movmnt: In The Heights features a good amount of street dancing; did you cast performers with non-traditional dance backgrounds? Andy Blankenbuehler: Our dancers don’t have traditional dance backgrounds. We cast the show to be very much like a street show, so these dancers are very good at what they do - better than I am at what they do. They’re not traditional musical theater dancers- they’re really talented so they’ve done a bunch of Broadway shows, but this is more their forte. They specialize in different things, like Luis is a really great salsa dancer and is familiar with lots of different Latino styles, whereas there are other dancers in the show who are more specialized in hip hop. As a choreographer I try to pull their strengths out of them and really use their personality. The challenge for me when I started was I didn’t have a lot of experience choreographing hip-hop or salsa. I understood what needed to happen in terms of storytelling, and my vocabulary is diverse, but hip hop was sort of an extreme that I hadn’t choreographed in, so I had a lot of research and pre-production to do to figure out how to choreograph vocabulary that I wanted. The cast was great because I would do a step, and if the step wasn’t perfect, by the time they added their own things to it, it brought the show to life. Can you tell us more about the importance of authenticity in a show like In The Heights?
What was the process like for you? What I had to do was begin research. I watched MTV and VH1 constantly, and figured out which artists I liked and which grooves I liked; what styles of choreography I felt matched that world. As soon as I figured out the world I wanted them to live in, then I had to start experimenting. I’d analyze the syncopation of the movement and find how the syncopation could match our music. It was a really long process. With the Latino styles, we used Salsa dancing in the show in social dance settings, in a dance club- so those numbers weren’t so interpretative. I didn’t feel the need to learn Salsa dancing inside and out; I felt the need to understand it enough to shape it. With Luis as my associate on it, we were able to say ‘oh this is this kind of step’ and we’d find the step together. Then I crafted the number like a story ballet, so the audience followed the story line…it just happened to be dancing the whole time. But with the hip-hop and the more contemporary movement, it’s very interpretative. So with that movement I felt that I needed to be able to execute it on my own, so I went to L.A. and studied for a few weeks, and then I took classes in New York. I brought people in the studio with me, and they would coach me on learning stylistically how to approach the music, so that when I started choreographing, it met that world. It was a very long process. I worked for about six months before I really started the show, [then] it took us several months to choreograph. The style of choreography is very contemporary, was it important for you to create something that was also timeless? I think structurally, we created a musical that’s not so much timeless, but a very accessible forum. So if somebody is 65 years old and they’re Jewish and they usually see a show like Gypsy, they’ll go to our show and they’ll still be able to take in the show as if it were a normal Broadway musical. Structurally that was the first step in creating a show that would appeal to a lot of people but was also in a sense, timeless. I felt like the show needed to be really tight, the syncopation and movements very specific and chiseled. As the musical has a life, that timing will remain true to the music. If movement is big or flamboyant, it starts to become generic. The fact that our rhythms are very chiseled creates a structure in the show that makes the audience pay attention. Jayzel Samonte 11 September Mi amigo Jaime Camil es Vivo ejemplo de nuestra Filosofia en R.Evolucion LatinaMi querido Amigo Jaime Camil escribio en su Blog;
"LUIS SALGADO y su Revolucion Latina!
http://www.youtube.com/watch?v=B2Rd7Cpx-Ss
Lo que no sabe JAIME es que el es para mi motivación y VIVO ejemplo de lo que es R.Evolución Latina. NO solo su historia es una de superación y lucha; Ejemplo perfecto para todos los que buscan su sueno; pero también Jaime se da a su comunidad artística con el fin de desarrollar y alentar los talentos de su querido México.Es el segundo ano en el que logro participar de talleres ofrecidos por Jaime Camil para la comunidad de Teatro Musical en México y no saben lo hermoso que es el poder ser parte de esta experiencia.Los alumnos se retan, crecen y creciendo ellos, tienen la oportunidad de ir y compartirse con otros que los necesitan también. La iniciativa de Jaime en México inicia esa colaboración y movimiento progresista en cadena que buscamos nosotros con nuestra R.Evolución de Evolución.Gracias Jaime por tu ejemplo, por tu apoyo y por tu amistad.Mis respetos;Luis SalgadoLuis Salgado Wins Actors' Equity's ACCA Award for Outstanding ChorusIn the Heights Wins Actors' Equity's ACCA Award for Outstanding Chorus
By Andrew Gans
The Tony Award-winning musical In the Heights has again been honored. Actors' Equity announced Sept. 10 that the acclaimed musical, which continues to play the Richard Rodgers Theatre, has been named the recipient of the Actors' Equity Association Advisory Committee on Chorus Affairs' Second Annual ACCA Award for Outstanding Broadway Chorus. The award, according to a press statement, honors "the distinctive talents and contributions made by the chorus of a Broadway musical." The awards ceremony will be held Sept. 23 during the ACCA meeting at Equity's NYC headquarters. The In the Heights winners, who were all part of the show's March 9, 2008, opening-night cast, include Michael Balderrama, Blanca Camacho, Tony Chiroldes, Rogelio Douglas, Jr. Rosie Lani Fiedelman, Joshua Henry, Afra Hines, Stephanie Klemons, Nina LaFarga, Doreen Montalvo, Javier Muñoz, Krysta Rodriguez, Eliseo Román, Luis Salgado, Shaun Taylor-Corbett and Rickey Tripp.In a statement Jean-Paul Richard, Equity's second vice president and ACCA chair, said, "The chorus of In the Heights truly exemplifies the hard work, dedication and talent it takes to be outstanding in a Broadway musical." Nominees for this year's award included In the Heights, Xanadu, Cry-Baby and South Pacific. Criteria for nomination included "what was required of each chorus by the director, the choreographer, the musical director and the caliber of skill used to execute those requirements. The Committee then deliberated on the requisite technical skill of the chorus actor and the contributions the entire chorus made to the overall production." * Actors' Equity Association, founded in 1913, represents more than 46,000 professional stage actors and stage managers nationwide. Equity seeks to "advance, promote and foster the art of live theatre as an essential component of our society."
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"R.Evolucion Latina is providing many opportunities for young artists to gain exposure to the arts and this is just one that we’re extremely proud of this year," stated Salgado, Founder and Director of R.Evolucion Latina. "The dancers were truly excited to give their best, and the performance was a philanthropic, feel-good show with proceeds going to Broadway Cares/Equity Fights AIDS," Salgado added. 
We had to figure out what was authentic…and it’s a very deep question for the show. Part of the authenticity was making it look like real people in the city; people who have daily struggles, people who have to take the subway, people who are hot because it’s in the middle of a heat wave. Then there’s another kind of authenticity, which is that the show is very much about Latino heritage. [The creators] wanted attention paid to the specifics of their cultural dances, so that was another level. And then a third level of authenticity was that musically we live in a very contemporary world in the show, so authenticity for that meant that the dancing had to look like what the audience was hearing, because for the general audience who sees the show, they don’t know anything about hip hop. They’re more of a traditional audience, so if they could see what they’re hearing, it’ll make more sense to them.
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