Lisa Portes is a well-known name in the regional theater realm. As a director, she has nurtured important and popular new works that have gone on to be done at other theaters around the country and is particularly attentive to new works by Latinx playwrights.
Portes co-founded the advocacy group Latinx Theatre Commons and serves on the boards of the Theatre Communication Group (an organization for non-profit theaters) and the Stage Directors and Choreographers Society theatrical union.
Yet for all her widespread experience, Portes has never directed a full production in a regional theater in Connecticut. Her lack of a Connecticut credit changes this month when she directs Alexis Scheer’s comedy “Laughs in Spanish” at Hartford Stage. The show runs March 6-30.
Portes, who as based for years in the thriving theater scene of Chicago and now lives in California, may not have directed a full production in Connecticut before, but she has done projects that were later done here by others. She directed the world premieres of two plays that ended up at Hartford Stage with other directors and casts: Octavio Solis’ “Quixote Nuevo,” directed at Hartford Stage in 2019 by Portes’ friend KJ Sanchez, and “Espejos: Clean,” directed at Hartford Stage last year by Melissa Crespo. She also did a key early production of Karen Zacarías’ “Native Gardens” in 2018 that was directed by JoAnn M. Hunter. That play is currently being done at Westport Country Playhouse.
“Laughs in Spanish” is a five-character play set in Miami, Florida during the trendy Art Basel festival. Connecticut theatergoers will recall that the same festival was the backdrop for “Queen of Basel,” Hilary Bettis’ adaptation of Strindberg’s “Miss Julie” done at TheaterWorks Hartford in 2023. In Scheer’s play, the festival adds comical commotion to an already calamitous situation, when the daughter of a larger-than-life celebrity endures a robbery at the art gallery she runs.
Scheer’s script contains this intriguing style note: “The Miami natives in this play, all except Jenny, code-switch throughout the play … affecting their dialect, style and vocabulary based on who they are speaking to. For example, anyone speaking to Jenny will unconsciously sound what we might understand as less-Hispanic. Similarly, when Mari speaks on the phone to her clients, her Miami dialect drops completely. These characters never do it for comedic effect, it’s simply the way they live. (But I hope, at times, we can find it funny.)”
Portes, a Cuban American, has never attended Art Basel but has spent time in Miami. She directed the world premiere of “Laughs in Spanish” at the Denver Center for the Performing Arts in Colorado in 2023. “I was talking to (Hartford Stage artistic director) Melia Bensussen about it — we are fellow travelers, passionate about forging a path for new works. When Melia reached out about doing it at Hartford Stage, I asked if we could use the original cast.”
As it happened, one of those original performers, Danielle Alonzo, was not available so the role of Carolina is being played by María Victoria Martínez in Hartford. Maggie Bofill, Olivia Herbert, Stephanie Machado and Luis Vega are all reprising the roles they played in Denver.
Scheer was a graduate student at Boston University when she presented an early version of “Laughs in Spanish” as her senior thesis project in 2019. Later that year, Scheer earned acclaim for her teen seance play “Our Dear Dead Drug Lord.” She is currently working on the book for the new stage adaptation of the TV musical “Mrs. Santa Claus,” which will have its world premiere at the Goodspeed Opera House this fall.
Portes calls “Laughs in Spanish” “a topical comedy that is both an art heist caper and a mother/daughter story. It has the fun and the lightness but also depth. And Art Basel is at the center of it. It’s a 90-minute comedy, and nearly every one of us has done it before, but we are all finding new things in it.”
The production uses the same set designer as in Denver, Brian Sidney Bembridge, but the art gallery setting and the play’s blocking have had to be revised considerably since the Denver Center has a shallow proscenium and Hartford Stage has a deep thrust stage as well as a larger auditorium. The rest of the Hartford design team is new to the show.
Portes quickly acclimated to the theater scene in Hartford. She speaks glowingly of TheaterWorks Hartford and HartBeat Ensemble. She was impressed by the Hartford Stage production of “Two Trains Running.”
After years of running the graduate directing program at DePaul University in Illinois, Portes now chairs the theatre and dance department at the University of California San Diego. Her teaching posts give her the opportunity to explore large-cast theater classics, so she has done Shakespeare and Tennessee Williams. One of her first big theater jobs was as associate director for the Broadway production and subsequent tours of “The Who’s Tommy” in the mid and late 1990s. But the work she clearly cares most about is new play development.
“I love new plays and more than that I love playwrights,” Portes said. “My best friend is a playwright. The father of my children is a playwright.” She is dedicated to “championing work by underrepresented writers. I’ve been on this particular mission for a long time. It’s important that new work gets out there.”
Portes is also concerned that because many theaters want to be the first to develop and stage a new work, a lot of deserving new plays don’t get second or third productions. “I want the plays to have a life beyond world premieres,” Portes said, which is exactly what is happening now with “Laughs in Spanish.”
“Laughs in Spanish” by Alexis Scheer, directed by Lisa Portes, runs March 6-30 at Hartford Stage, 50 Church St., Hartford. Performances are Tuesdays through Fridays at 7:30 p.m., Saturdays at 2 and 7:30 p.m. and Sundays at 2 p.m. There is no Saturday matinee on March 8 and no Tuesday performance on March 18. $20-$105. hartfordstage.org.