Efren Paredes
Efren Paredes came to my attention playing Henry in Second Chance Theatre’s Next to Normal. I was blown away by Efren’s portrayal of the slightly goofy pothead with a good heart. Efren brought warmth and tenderness to the role while still maintaining all the wisecracking humor of Henry. I was captivated by how totally he inhabited the character. I knew right away that I wanted Efren for the column. Anyone who can make me laugh and bring me to tears in the same scene is doing something right. To call Efren gifted is an understatement. Take a look at his interview questions and you’ll see what an intelligent, insightful young man he is.
When was your first time on stage?
Funnily enough, my first time on stage was exactly ten years ago from when I was a freshman in high school. I had joined a theatre class in high school --I don’t remember why, my life before then had nothing to do with theatre-- but it ended up being one of the more intelligent choices I would have made in high school (out of a mountain of terrible ones). My teacher for said class was named Mr. Salm, who saw how much potential I had as a theatre kid and “encouraged” (more so pushed) me to audition for my high school production of Guys and Dolls. I had thought that was the musical from Wall-e, so I decided to go for it. (Turns out it was Hello, Dolly! that was played in Wall-e, which coincidentally enough we did my senior year and I got to play my version of Horace Vandergelder, in which he had a 100 degree fever.)
When did you know you wanted to be an actor?
Surprisingly, Guys and Dolls was the show --of all shows-- that cemented my place in the theatre world (though I really wish it was How To Succeed that did it). One night, halfway through one of our performances, the actor who played Lt. Brannigan got incredibly sick. Mind you, this was a had to call for medical services type of sick, so although the show must go on, he had to go on to somewhere else. Everyone is freaking out, and I’m backstage watching all the veteran theatre kids unfold into hysterics. People are asking “what are we going to do, who’s able to learn the role before intermission is over?”. Then, a metaphorical lightbulb was lit up (and also a literal one, since we had to turn on the lights during intermission) as Mr. Salm got an idea. “Efren will do it, give him the script.” I should have called him Aaron Rodgers the way he threw such a hail mary, but alas I was too busy memorizing the script I was given and wouldn’t have been able to google “who threw the most hail marys” just as I did before writing this sentence. Now I’m backstage, putting on the Lieutenants costume, going through the lines over and over with anyone who wasn’t already onstage, learning and practising the blocking inside the dressing room. Soon enough, I’m behind the doors to our church set, shaking like a Texan in morning weather. I hear my cue, and barge into the scene. To this day, I don’t remember what my lines were, who I was delivering them to, or even what character I was arresting. All I remember was opening the doors and seeing the shadows of a large audience before being hit by the stage lights, wondering if anyone would notice how much I was trembling (or maybe they thought it was a character choice). After that, everything became a blur; I did the scene, then the finale, then the curtain call, then all of a sudden was hugged and congratulated by so many people. Later, when I was conversing with Mr. Salm, I asked him “Why’d you pick a freshman to save the show?”, and he said “Because you were that freshman”.
What role have you enjoyed the most in your career so far?
This is a tough one to answer, any actor that is appreciative to be an actor understands that it is like picking who is your favorite child (pets are included in this child metaphor). Every role that one can get should help one grow as a performer; whether it be acting wise, vocally or movement-based. However, I would be remiss if I did not talk about my role as Misha in the play Lydia. Throughout the whole process I was surrounded by versatile actors, an ingenious director, and a powerhouse of a Creative team. I also got to talk with the playwright of Lydia, Mr. Octavio Solis, who was such a huge help and an enormous wave of support to us. I’ll never forget that on opening night, my mother was there, and I was giving this intense and emotional monologue to my father in the show. And knowing my mother was in the audience, watching this scene unfold, I couldn’t help but cry. Tears flowed out of me as I spoke a monologue I had been reciting for about a month and a half, but wasn’t until that night that I truly acted it. Misha was (and is) one of the hardest roles I had ever performed, and I am so grateful for it.
Do you have a dream role?
Usnavi used to be a dream role of mine, however I had the honor to don the role with the Grand Prairie Arts Council Company, before we had to shut down after the opening night performance. But even if it was only for one night, I am filled with gratitude that I was able to perform my dream role with an incredibly powerful cast and crew. Grateful for Lon Barrera, who directed the production (and Jacob Rivera-Sanchez who at first stage managed the show but would later co-direct). The musical support of Kristin Spires, who did absolute justice to the score. The hardworking creative team behind the lights, sound and set. And importantly, the entire cast of players who brought a neighborhood in New York, and made it feel alive in Texas. The best part about one dream being lived, is that the next one gets bigger
What person(s) would you like to be on stage with?
Honestly, it’s a three way tie between Pedro Pascal, Andrew Garfield or Andrew Scott. Each of them have details to their character building and intricacies to their acting methods that I would just absorb like a sponge. One rehearsal process with each actor would equate to an entire semester's worth of information. Also, if I had a panic attack, I promise you each one of them would volunteer to talk me through it until I was fine…which is a very attractive characteristic.
What performances have you seen that impressed you?
Hands down, Caroline Rivera’s portrayal of Diana in Second Chance Theatre’s production of Next To Normal. I was fortunate enough to not just perform with her, but watch how she tackled the role throughout the rehearsal process. Since the first week, she would give the most complex and genuine performances in our rehearsal studio and would just build from there. Whatever emotion was needed --whether it be scene wise, character wise or story wise-- she was able to bring it to the table. To this day, I am still enthralled by her performance of the song “Maybe (Next To Normal)”, in which each night she performed it, I cried with her backstage. She truly is one of DFWs gems, both onstage and offstage. Also her hairstyles are pretty badass dude.
What are your career goals?
I would love to get my foot in the door for the world of film. Before theatre became a part of my life, my childhood was filled with movies and telenovelas that I would watch with my family. Especially my mother and grandmother, who loved to watch any telenovela that was airing at the time. Since there was only one TV, I inevitably also sat down to watch the most high-stakes plotlines played out by Mexico’s most talented players. It got to a point that I started having my own theories about what was going on in the world of the show, to which I would just make both women listen to while they were cooking that night's dinner. That love of screen acting never went away, and in fact became one of the main reasons I started acting in the first place. Now ten years of working on stage have gone by, and now I am longing to start working for the screen. I don’t know where one could start on this journey, but I am hoping that by next year the journey would have started.
What would people be surprised to learn about you?
That I am both a writer and a musician. Music has been something ingrained in me since I was a child; from making songs about shapes to remember which one is which, to singing every song that played on the Mexican radio station (and eventually learning English by singing the songs that were played on PBS and The Simpsons), all the way to receiving an Associates in Vocal Performance. Fun fact: When I was 18, while I was on the path of trying to get my associates, I had found a hidden love for composing my own music. So for about 6 years now, I have been writing and composing my own music, leading me to amazing opportunities such as composing for performance spaces (plays, stage readings, dance recitals) and uploading music to streaming services. While I compose music, I tend to be the songwriter/lyricist to most of my works. I have also written plays, to which I have been able to produce and direct, thanks to the kind professors at UTA who gave me the opportunity and space to expand my creative talents. Being a writer is also why all my answers were paragraphs of what looks like a sneak preview to my memoir, but Doug did tell me my answers could be as long as I want them to be.
All in all, if you have read to the end of this I just want to thank Doug Sturdivant, for not only giving me the opportunity to have my voice heard in his column, but also the kind words he shared with me about my craft as an actor. When artists do something they are passionate about, they are often the ones who also criticize themselves the harshest, in an effort to better their craft. People like Doug are the small saviors in our careers that help us reflect how far we came from where we started, and how much further we can go. I would also love to thank my family and friends, who I always love to shout-out in my bios (in theme with whichever show I am performing in). They are truly the reason I am an artist; when one wants to reflect humanity in their art, their one monogamous narrative isn’t enough. The narratives of our loved ones help us build a more empathetic relationship with the overall human experience, and that is how we can start to capture humanity. Also they cheer for me the loudest during a curtain call. Oftentimes, when the state of the world is unapologetically Acheronian, people want to remove theatre as a means to save other art forms. They don’t realize that since humans could speak, we have always had an air of theatricality that we took breath from. To take away theatre, is to take away our foundational understanding of each other. That’s why it is important to support the stage, anyway you can. Whether that be buying tickets, volunteering in groups or even just uplifting your creative friends. Read a book, love one another and stay safe.
