“Life is meaningless without art.” 
- Karen Finley

“Above all, you must remain open and fresh and alive to any new idea.”
- Laurence Olivier

“The body does not have memory.  It is memory.” 
- Jerzy Grotowski

“In everything, without doubt, truth has the advantage over imitation.”
- Cicero

“The actor must constantly remember that he is on the stage for the sake of the public.”
- Johann Wolfgang von Goethe

“One wishes to know something but the answer is in a form of being more aware – of being open to a richer level of experience.” 
- Peter Brook


Rose Bruford College of Theatre and Performance - London’s International Drama School

Washington, D.C.'s Studio Theatre

San Francisco Ballet

Grand Ball in the Belle Epoch - Edwardian Period Style Salon Workshop

Keegan Theatre

Pan Asian Repertory Theatre Celebrates its 39th Anniversary

MetroStage Theatre

Swine Palace Theatre

Asolo Repertory Theatre

Ontological-Hysteric Theatre

Amelia Community Theatre

Discovering Lunt & Fontanne

Harlem Repertory Theatre

Santa Fe Playhouse

Opera Colorado

National Hispanic Cultural Center

Red Eagle Soaring Native Youth Theatre

Lorraine Hansberry Theatre

Coatlicue Theater Company

London's Finborough Theatre

New Repertory Theatre in Boston

The Work of Yat Malmgren: Christopher Fettes’ New Book “A Peopled Labyrinth”

Terry Knickerbocker Studio in New York City

 Coatlicue Theater Company

Elvira and Hortencia Colorado, Chichimec Otomi Nhanhu storytellers, playwrights, traditional dancers and community activists, are founding members of Coatlicue Theatre Company.

Recipients of the Ingrid Washinawatok Community Activism Award, they are also members of the Hemispheric Institute of Performance and Politics, Danza Celtiliztli Nauhcampa, the New York Zapatistas and the American Indian Community House. The company’s plays and workshops address social, political, cultural and identity issues that impact their lives and their community.

Coatlicue Theater Company’s work is based on stories they weave together, educating as well as entertaining while reaffirming their survival as urban Native American women. Coatlicue Theater Company has toured nationally and internationally performing and conducting workshops.

Coatlicue Theatre Company is a recipient of numerous grants:  The Ford Foundation, Rockefeller, Readers Digest-Lila Wallace, NYFA, NYSCA; and The Ingrid Washinawatok Community Activism Award and Honor the Spirit Award for Excellence in theatre.  Their work has been published in several theatre journals and anthologies. They are members of the Network of Ensemble Theaters, Hemispheric Institute of Performance and Politics at NYU and American Indian Community House.

Ms. Colorado was also an understudy for Rita Moreno in “The Ritz” on Broadway, and Off-Off Broadway, she has appeared at Theatre for the New City, New York Theatre Workshop, Yale Rep, Hudson Theatre Guild, NY Theatre Ensemble, La MaMa, Intar, Ensemble Theatre/West, and Labor Theatre. She has also appeared in several TV shows and films including: “The Mystic Warrior,” “The Legend of Walks Far Woman.” “A Man Called Hawk,” “Fatal Vision,” “Nurse,” “Irreconcilable Differences,” “Easy Rider,” and “Distance.”

Coatlicue Theater Company was instrumental in initiating and maintaining the “Day of the Dead community altar” celebrations in New York City at AICH, Smithsonian NMAI, Museo del Barrio and with universities and community organizations. www.coatlicue.com




"It is a law of life that man cannot live for himself alone. Extreme individualism is insanity. The world's problems are also our personal problems. Health is achieved through maintaining our personal truth in a balanced relation of love to the rest of the world. No expression is more emblematic of this relation than the creative act which we call art. No art by its very constitution typifies the social nature of that creative act more than the theatre. The theatre, to be fully understood and appreciated, must be seen as a manifestation of this process of interchange between society and the individual. It must be judged as a continuous development of groups of individuals within society, a development which becomes richer, acquires greater force and value as it grows with the society in which it originates. Only in this way can the theatre nourish us.  - Harold Clurman

The Soul of the American Actor Newspaper