We chatted with Anna María about starring in the UK premiere of Neil LaBute’s America the Beautiful, playing at the King’s Head Theatre until the 21st March and then transferring to the Greenwich Theatre from the 31st March until the 4th April.
Hi Anna María, how does it feel to be part of this UK premiere?
It is absolutely surreal, as an American, to have followed the work of Neil Labute for years only to then move to the UK and be a part of this incredible premiere. Neil writes so presciently about the dynamics underpinning American society, and having lived in London for four years I can guarantee UK audiences will notice resonances with similar social phenomena that have emerged here. I have watched, with growing concern, British politics become all too similar to American ones, and I so ardently do not wish this country to make my home country’s same mistakes. It’s an honour to have been entrusted with this unflinching, timely, celebrated work in a city that’s treated
me so kindly.
How does it feel to be taking on a variety of different characters?
‘America the Beautiful’ is honestly any actor’s dream. I am in four different plays in this project, and it’s immensely rewarding to stretch and strengthen my artistry and craft to inhabit four completely different lives in such a short time. I feel my creative muscles being sculpted as we dive into these rich (and heavy) texts. As an actor, it’s so fun and satisfying to play with all the tools I’ve accumulated from drama school and years of work. It’s absolutely transcendent.
What has it been like working on the production so far?
Working on this production has been an exercise in joy and competence. Every member of the cast and creative team is absolutely on it – every single person is incredibly talented at what they do, and kind and collaborative to boot. It’s such a nice feeling to be able to wake up every day, excited to go to work. James is a fantastic director and facilitator of a room, and it feels like we’re all digging and playing and working toward a common goal. The rehearsal room is filled equally with giggles and serious, steady work.
What attracted you the most about being part of America The Beautiful?
I’ve loved Neil Labute’s work for years, and the thought of getting to engage with it so deeply—and at such a pivotal time—was a dream. I had also heard such great things about James, and he is indeed one of the most generous and community-oriented artistic directors I’ve met in London. I knew that if I was cast, a demanding project of this scale would help me “level up” as an actor, and I was thrilled by the prospect of that growth; nothing hones your acting chops quite like taking on four characters at once, and this application of craft is positively delicious. I am also so, so delighted by any chance to work in the London theatre circuit, as there’s truly amazing work being done in this city. It’s an honor to be a part of it.
What do you admire the most about Neil LaBute’s writing?
Neil Labute’s writing is brave without being careless, and that’s a rare, precious thing. I’v never seen anything in his plays that felt gratuitous, and yet he doesn’t shy away from the worst of humanity – a necessary antidote, I think, to the relatively modern sensibility that shying away from rot makes it disappear.
I was a community organiser in the States for over seven years, confronting said rot face-to-face. In the past half-decade I’ve observed firsthand how rapidly discussions around identity and power have emerged and, subsequently, devolved into harmful, flattened abstractions that are no longer grounded in love and care. I sense this is why many folks have understandably developed a distaste for such grapplings altogether. I grieve at that, because I believe language around identity and power, at its best, helps us understand—and therefore love—each other better, as it articulates the unique realities of how each individual human being navigates and experiences the world.
That’s why I love Neil’s work. His writing showcases a bone-deep understanding of how systemic patterns of power manifest in the individual and interpersonal, often (but not always) through a lens of identity. Any “discomfort” in his plays isn’t used as gimmicky shock-value, but rather as a tool with which to surface truth and/or encourage reflection. He, as an artist, responds to present-day absurdities with a clarity I find vital, and I am honoured to be bringing his words to life.
By Emma Clarendon