We caught up with the brilliant and insightful Valeria Aceves a few weeks ago and have shared our conversation below.

Hi Valeria , thanks for joining us today. Have you signed with an agent or manager? Why or why not?

I remember the idea of wanting to sign with an agent was very stressful for me, mainly because as an international actress, I believed that was my only ticket to stay in the country.

I believe the first thing people need to understand, especially performers who are just beginning, is the difference between an agent and a manager. Agents submit their clients for auditions, they negotiate contracts and wages, as well as working conditions. Their primary focus is finding you work. On the other hand, managers are more “personal” by providing you with career guidance and some managers also submit you to work. The easiest way to explain it for me is the manager helps you build your “image” and the agent sells that image to diverse projects. It’s all teamwork.

On that note, the first thing I learned about having an agent and a manager is that we work as a team. They don’t work for me, and I don’t work for them. We work for each other. When you’re going to sign with an agent I think one of the questions you should ask yourself is, can I work as a team with them?
And that involves figuring out, as a team, the way we should communicate and problem-solve.

I’m very happy to say my agent is Abby Bluestone, from Innovative Artists, and my manager is Candice Edwards-Marchrone, from Citizen Skull. I love having them on my team and I appreciate all they have done for me.

My last piece of advice on the topic, and I’m still learning every day, is something I heard from Robin Thede at a SAG-AFTRA moderated discussion with Joyelle Nicole Johnson. She said, “It’s not your agent’s job to tell you how talented you are. They know. That’s why they signed you.” I remember, and I still do it sometimes, how we look for validation from others. But WE are the first person that needs to believe in ourselves. And if your agent doesn’t say “good job” to your self-tapes, or if you haven’t signed with an agent, that doesn’t mean you are bad. Trust your instrument. Invest in it. Keep taking lessons. But believe in it.

Valeria , before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?

I’ve always been a curious and very intense person. Since I was little, I tried out all types of activities like soccer, volleyball, boxing and even fencing. Eventually, I got into acting through school workshops. I remember when I was 7 years old, while I was interpreting the witch in The Wizard Of Oz, I felt this sense of belonging that I’d never felt before. Now I can tell, it was the feeling of getting completely lost on stage by delivering yourself into it. Since that moment I’ve been acting.

I submerged myself in workshops from the acclaimed school M&M, founded by Patricia Spíndola, as well as CasaAzul, one of the best acting schools in Mexico. Since I’ve always been curious, I’ve always said there is always something more to learn. Some new techniques to familiarize yourself with, some new teachers to know and some new tools to master. I believe that one of the strongest abilities an actor should have is to become a “sponge”, ready to absorb all knowledge.

Back in Mexico, I was in several productions like “Dime que me amas”, “Alguna Chica(s)”, “Ruta 13”, “La Peor Señora del Mundo”, and others. Likewise, I developed a love for film, starting in short films like “Los Últimos” or “Lost Stars”. It didn’t take me long to realize that this is what I wanted to do for the rest of my life. Shortly after, I decided to take one of the biggest leaps in my career and my life. I wanted to go to New York and not only study there but pursue my goal of being an actress.

I studied in The Neighborhood Playhouse School Of Theatre, the 2-year conservatory, alongside amazing teachers like Timothy D. Stickney, Carmen Lamar, Gary Kingston, Todd Susman. Soon after graduating, I was in the production of “In The Heights”, at the South Orange Performing Arts Center, where I played Vanessa. Such a fun role to play as well as challenging! I’m very thankful to my teacher, Andrea DelGuidice, for her countless teachings on how to take care of my voice.

During this year, I’ve been part of the production of a new film by Dimas Salaberrios called “Camp Joy”, I’ve performed in several Cabarets like “Chasing Dreams”, at Don’t Tell Mama, and “Building A Bridge” at Open Jar Studios, as well as played Angie in “The Chickens Have Come Home To Roost”. That one has been my favorite role so far because I had to interpret Angie from when she was 5 years old to 26 years old. This psychological thriller was presented at Triskelion Arts, and I am very happy to say it was a beautiful ensemble piece that stays very close to my heart.

Today, I am a working actress who does her self-tapes every day and is living the dream of New York City. Still curious about what’s to come, and what is next to learn. Living life with the same intensity.

What do you find most rewarding about being a creative?

To be able to move people. My latest show, “The Chickens Have Come Home To Roost”, talks about consent and explores the shame a female body experiences on their sexuality as they grow older. In the play, there’s also a situation of sexual abuse, and it focuses on how the character’s subconscious deals with it.
A friend came to me after the show and we spoke for hours about their experience with their sexual abuse. Them recognizing it and naming it like that, after watching the play. Also, we talked about the empowerment they felt about conceptualizing their abuse and feeling liberation from the pain they even didn’t know they carried. For me, that’s worth more than a million dollars.
There’s a profundity in the art that allows you to be moved if you let it. And I believe as a performer that’s the most rewarding thing you can do, use the power of art.

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

Support untold stories from the perspectives of the global majority. (I like to call the global majority BIPOC people, the LGBTQI+ community, immigrants and disabled people.) We have stories to tell, plenty. We need funding, we need spaces, we need producers. If you are able to supply any of those resources, let the global majority know. Find shows that tell a different story and get to know other universes.
I recently watched “Temporada de Ciervos” directed by Antígona González (@antigonago), and the whole production was in Spanish with super subtitles. My partner, as an English speaker, understood not only the play but was moved by the story of it. Don’t be afraid of other languages, other cultures or other stories. That’s how we enrich society and we break those borders.    

Contact Info:

• Website: https://www.valeriaaceves.com
• Instagram: https://www.instagram.com/valeria.aceves/