Alright – so today we’ve got the honor of introducing you to R. Réal Vargas Alanis. We think you’ll enjoy our conversation, we’ve shared it below.

Hi R. Réal, thanks for joining us today. How did you learn to do what you do? Knowing what you know now, what could you have done to speed up your learning process? What skills do you think were most essential? What obstacles stood in the way of learning more?

Learning is a big passion of mine! Seriously, I LOVE to learn. I grew up in an artistic household with a dancer and percussionist mom, a dj dad, and visual artist brothers. I grew up immersed in art with high respect. I started as a dancer, musician, and illustrator as learned by my family. My dad bought me my first sketch pad and I began illustrating comics (my original career interest), this led to writing, which eventually led to playwriting and theatre. Theatre can encompass all of these arts in one, which is what I love about the craft.

I officially began my music education in elementary school as a percussionist and fell in love with the craft of music. I was the section leader in Middle School and High School and studied music throughout college. I am a well versed in percussionist but specifically in the mallet section (marimba, vibraphone, chimes, etc.). I’ve played in concert bands, orchestra, and musicals.

In middle school, I met a remarkable teacher named Tin Word. He saw the need for creative expression beyond our music department, especially in a school environment where gang affiliation led to strict uniform policies—gray, dull uniforms that stripped us of individuality. He started an art club and it became a safe haven for students like me. Tin later transformed the art club to theatre club and that’s when my first real taste of theatre came. I auditioned for Tin’s production of A Christmas Carol, where I was cast as the Ghost of Christmas Present, and that experience lit a fire in me.

When I moved on to Atwater High School, I met another incredible mentor, Julianne Aguilar—Tin’s former instructor—who truly shaped my path in theatre. She instilled in me a deep appreciation for learning and the importance of ongoing training. Julianne’s goal was to ensure her students were well-prepared for college or the theatre industry, and she established a phenomenal, interdisciplinary program that covered a wide range of the crafts of theatre and film.

Once I was in college, I knew that opportunities (both in college and the industry) were going to be limited for someone like me, a queer Native. I was determined to be overqualified and as per my prior training, I pursued a Theatre Arts Generalist Track, which gave me a well-rounded education, furthering my interdisciplinary training. Outside of my college’s theatre department, I pursued external training and education. My training was extensive—I had the privilege of studying physical theatre at the Atelier Teatro Fisico in Italy, learning techniques such as Commedia dell’Arte (my favorite), Jacques Lecoq, clowning, acroyoga, pantomime, and jump roping (we jump roped as a group for an entire class session to get comedic timing – I will forever complain about that!). I learned mask acting in Nanterre and Paris, France, acting in Dublin Ireland with The Lir Academy and Trinity College, studied techniques such as viewpoints, Meisner, and improv with Steppenwolf Classes West, stage combat with instructors from the Society of American Fight Directors, trained in writing under Second City, iO West and SNL instructors, and more.

Each experience added to my artistic toolkit, but it wasn’t without challenges. Financial struggles and systemic barriers often tried to halt my progress. I juggled multiple jobs and a heavy course load, working tirelessly to fund my education. I remember one semester when I took 26 units while balancing three jobs and working on 5 shows. It was intense.

By studying hands-on in wide aspects of theatre, I discovered both the areas I didn’t enjoy—like stage managing (they’re gods!)—and the ones where I thrived. I found my strengths in directing, playwriting, acting, costume design, fight choreography, scenic painting, and producing. My education, ambition, and drive have all contributed to my success in this field.

Looking back, I realize that the skills most essential to my journey have been producing and building partnerships. Producing is where the magic begins—it creates opportunities. I produced many opportunities for myself and others, especially for voices that are often underrepresented. I co-founded an organization, IN THE MARGIN, dedicated to uplifting QT and BIPOC creatives. I’m really passionate about fostering collaboration and creating spaces where we can all thrive.

Through all of this, I see myself as a vessel for my ancestors’ creativity—a legacy of musicians, dancers, and artisans that inspires me every day. My journey hasn’t always been easy, but it’s been incredibly rewarding, and I’m committed to making a difference in the arts for those who come after me.

R. Réal, love having you share your insights with us. Before we ask you more questions, maybe you can take a moment to introduce yourself to our readers who might have missed our earlier conversations?

Hmm, let’s see. My name is R, Réal Vargas Alanis, I’m a Leo Sun, and I’m a 2-Spirit interdisciplinary and international artist from Winton, CA (Yokut) and Sahuayo Michoacán, México. My work spans directing, playwriting, acting, casting, producing and visual arts, all infused with a gothic yet technicolor aesthetic that reflects my diverse influences. What sets me apart is my chameleon-like versatility; I’ve trained in multiple facets of theatre and beyond, keeping my skillset sharp and ready for adaptability in any creative challenge. I believe in the power of community, collaboration, and humor. I work in theatre! At the end of the day, we’re here to “play.” I strive to lead with a playful heart, balancing intention and discipline in all my projects.

My focus is on creating new works that center on social justice, uplifting marginalized stories and voices. I am one of the founders of IN THE MARGIN, an arts and advocacy organization dedicated to supporting intersectional and interdisciplinary QT and BIPOC artists. Recently, I had the honor of being published by Broadway Licensing with my play Love is Bliss and became a member of the Dramatist Guild of America. I also served as the Executive Producer for The New American Theatre Festival and was involved in the world premieres of works like Exhaustion: Arroyo by W. Fran Astorga, Between Two Knees by The 1491’s, and The Copper Children by Karen Zacarías. My accolades include an Artist Disruptor Award from the Center for Cultural Power and California Arts Council for my work in the intersection of art and activism. I was a Fellow for Candela’s Summer Playwright Fellowship, Directing Fellow Finalist for Alicia Keys’ Hell’s Kitchen on Broadway, finalist for the Drama League’s Writer-Director Beatrice Terry Residency, and was part of the inaugural cohort of the National New Play Network’s Bridge Program Producing Cohort.

​​As a teaching artist and guest instructor, I have had the privilege of working with students at prestigious institutions such as Princeton University, Yale University, New York University, Ohio Northern University, Elon University, and organizations such as the Oregon Shakespeare Festival, and American Conservatory Theatre to name a few. Sharing my passion for the arts while inspiring the next generation of creators.

In addition to my artistic pursuits, I’m committed to advocacy and community engagement. I represented California’s Central Valley on the California Arts Council’s Creative Corps Community Development Panel, helping develop guidelines for a new $60 million fund to support the arts.
I’m an ordained minister so I officiate queer weddings. I also co-run my family’s taco business, Sexii Tacos (where the tacos are sexii, and so are you!).

In your view, what can society to do to best support artists, creatives and a thriving creative ecosystem?

During my time studying and working abroad, I noticed a profound appreciation for art, especially theatre, that often feels disregarded here in the U.S. It seems like the U.S. questions the validity of art and its place in our lives, much like my middle school experience of being forced into gray uniforms that stripped us of our individuality.

To truly support artists and create a thriving creative ecosystem, we need more than just funding for the arts; we need people from outside the creative industries to engage with us. This means getting involved in philanthropy, becoming patrons and donors, advocating for fair pay, supporting arts legislation, and attending events! Our opening parties are fun!

Let’s move away from questioning artists’ validity. Creatives have fascinating minds. When someone shares they’re an artist, approach them with curiosity. Ask about the projects they’re working on, encourage their passion, and share about your own work! I’ll listen and engage in a conversation about your upcoming CPA exams or recent rafting trips. We need those connections to help ground us by pulling us out of the echo chamber of the theatrical and entertainment industries.

Have you ever had to pivot?

Certainly. There’s two that come to mined.

Initially, I attended a film school in Southern California, but life circumstances brought me back to California’s Central Valley, where I transferred to a different university. Unfortunately, they didn’t have a film program, so, you guessed it, I started studying Biology instead. I love the sciences, but I craved a creative outlet. One day, I saw auditions for a production of Twelfth Night in the theatre department and thought, “I’m going to audition. If I get cast, I’ll change my major.” I auditioned, and I was cast. I kept my end of the bargain with the universe and changed my major. That moment reignited my passion for the arts.

Then came quarantine, which hit the arts and live events hard. I was out of a job aside from experimental virtual work. So, I helped my mom launch a taco business called Sexii Tacos (where the tacos are sexii, and so are you!). During that time, I also became deeply involved in civic engagement, focusing on issues affecting migrant farmworkers and food factory workers. I used my creative skills to organize workshops that taught workers about their basic labor rights under federal law and how to unionize. It was a challenging and intense period, but it fueled my passion for community activism, a commitment that now informs all aspects of my work.

Contact Info:

• Website: https://www.realvalanis.com
• Instagram: https://www.instagram.com/realvalanis

Image Credits

Anaya Photography
E. Alamo Designs
Truly Flawless Photography
Woodrow Photography
Mancuso Photography
CSU Stanislaus Photography
W. Fran Astorga