SCENE I: SEMINARIX

DESTINY y PANCHO, at the start of the

performance, are hyping each other up, and read
each other’s bios.

A slide comes up of their professional headshots

- the most professional images that they can
find.

Once the audience applauds for them, they enter

with no frills surrounding their presence. They
look very professional.

A slide is shown that reads: “Bienvenidos a

nuestro seminario!”

There’s a table on the side of room that has a

ton of serapes. There’s a point where the lights
go down, and they realize it’s time for the
performance.

DESTINY Y PANCHO
(In no particular order.)
Permiso, perdon, disculpe, excusame, etc, oh nice shirt, hello there, permiso...

They clear their throats, do a quick stretch, and

get ready to present themselves to the audience.

DESTINY Y PANCHO
Hola, amigx!

DESTINY
I’m Destiny.

PANCHO
I’m Pancho.

DESTINY
Welcome to Spanish for Estranged Latin Kids!

PANCHO
Muchas gracias for coming out tonight, we know that there were a lot of better options.
 2.

DESTINY
To begin, we’ll read today’s agenda for everyone, just so we’re all aware of what’s going
to happen today.

PANCHO pulls out a clipboard, or maybe he

reads it off a projector screen.

PANCHO
Items on our agenda include the following:
-An Exploration Colombian and Honduran Culture

A slide of a Honduran and Colombian flag is

shown to the audience.

PANCHO
-Yoga Blankets or Serapes? Talks of Textiles

A slide of a pile of serapes is shown, with way

too many question marks on it.

PANCHO
-The Summoning of Our Ancestors To Reveal Mystic Truths

A slide of Abuelita from Disney’s Coco is

shown.

PANCHO
-Mi Arepa Has Hips That Don’t Lie

Yes, this is a slide of an arepa with hips on it. It

is poorly Photoshopped.

The next slide comes up, and it’s a mysterious

image of a Mayan goddess with the question:
“¿Cuán conectado te sientes a tu cultura?”

PANCHO
(Pause.)
Um...I don’t recognize this one.

DESTINY
(Glances.)
...Huh?
 3.

PANCHO
It says...

DESTINY
Yeah, I didn’t write that.

PANCHO
(Sotto voce.)
We can just-

DESTINY
Yeah, just skip it.

PANCHO
Okay.
(Looks at us.)
-Latin-American Mythology Para Tontos

A slide of Aztec or Musica art can be seen,

depicting a mythological figure.

-Jungle Hispanics vs. Mountain Hispanics: A Primer Latin-American Geography

A slide of Mount Roraima is shown to the

audience.

And finally,
- A Closing Discussion on Nuestro Destino Inminente

A slide of an image that says, “Como la gente

en los 90’s veía el futuro” on one side with a
colorful depiction of a cheerful city.

On the other side, it reads: “Como nosotros

vemos el futuro” with a city in ruins.

DESTINY
Does anyone have any questions before we begin?

They wait. If someone asks a question, they will

answer it as honestly and earnestly as they can.
 4.

They answer three questions or so, or if nobody

asks anything, they move on.

DESTINY
Let’s get started!
When we talk about Honduras and the people living within it - or as we like to call
ourselves, catrachos - it’s important to create an immersive experience for you all as
participants in this seminar.
So do me favor, and close your eyes.
(She waits.)
Imagine that you are in an airport. You have arrived at Toncontín International Airport in
Tegucigalpa, Honduras. You are anxious, waiting in anticipation for what the country has
to offer.

PANCHO
With your eyes still closed, picture a piece of chicharrón.
Chicharrón is a staple food in many Latin countries. Today, I want you to imagine the
Colombian variety.
It’s the fried back fat of a pig, so picture a long, golden brown crescent of meat. At the
edges, you can see where the fat is - some soft yellow wedges.

DESTINY
You’ve heard a lot what’s been happening to this place. You grew up here as a child, but
there’s little that you can remember. But somehow, that doesn’t complete the picture in
your head of what this place is.

PANCHO
The next thing I want you to imagine is a bandeja paisa. It’s a heaping huge plate of food.
It has everything - arepas, chicharrón, chorizo, arroz con frijoles, aguacate, huevos, you
name it, it has it. To me, it symbolizes abundance. A productive day. An eclectic
lifestyle.

DESTINY
(To PANCHO)
Hey Pancho, I think our participants would like to learn about other aspects of Latin
culture!

PANCHO
Oh, yeah!

DESTINY
Besides information about food, is there anything else you’d like to share with these
folks?
 5.

PANCHO
Totally!

DESTINY
Right! The floor is yours!

PANCHO
Right!

DESTINY
What do you have to share?

PANCHO
Right.

DESTINY
Go for it-

PANCHO
“Que tal!”, everyone!
Can you repeat after me and say, “Que tal?”
(Waits.)
That is a very Colombian expression. Generally it means “what’s up”, “how’s it going”,
but the expression has spread throughout Latin America.
“Oye, mi llave, que tal?”
See, that’s another one. Llave is Colombian slang for a close friend. Llave also means
key, but in Colombia, it means that you’re so close to someone, that you’re like a key on
their keychain.

DESTINY
Okay, so now we’re leaving the airport - close your eyes again - and we’re now in the
city. It’s nothing like you expected it to be. The stories don’t necessarily do a good job of
describing it. Parts of Tegucigalpa are very clearly-

PANCHO
Hey Destiny, can you pass the ball to me?

DESTINY
Claro que si!

DESTINY “throws a ball” to PANCHO, who

doesn’t catch it.
 6.

PANCHO
I’d like to talk again about the bandeja paisa, because I think there’s so much
information.

DESTINY
Sure thing!

PANCHO
Abre tus ojos, por favor!

A slide of a bandeja paisa comes up on the

screen. It’s gigantic.

DESTINY
So uh...what does the bandeja paisa taste like?

PANCHO
I’m sorry?

DESTINY
What does it taste like?

PANCHO
Oh...lots of things.

DESTINY
Like what?

PANCHO
Savory flavors. Lots of...savory flavors.

DESTINY
Like...pork flavors? Or...?

PANCHO
Salty flavors too, like with the...

DESTINY
Describe the experience of eating it. For our participants!

PANCHO
Well it’s like...
 7.

DESTINY
Where were you? When you were eating it?

PANCHO
In a food court...in a mall in Bogotá.
Or was it Medellín?

A slide of a mall in Colombia comes up.

DESTINY
Is it more popular in a certain part of the country?

PANCHO
...

DESTINY
Pancho?

PANCHO
They gave me a buzzer.

DESTINY
Huh?

PANCHO
Like at a restaurant...
When you’re waiting...
Zzzst.

DESTINY
(Whispers.)
Estás bien?

PANCHO
...

DESTINY
We’re gonna move on, is that okay?

PANCHO
...

PANCHO has completely spaced out.

Something seems to have happened internally.
DESTINY moves on as if nothing happens.
 8.

DESTINY
Alright, close your eyes again!
Imagine that you are in an airport. You have arrived at Toncontín International Airport in
Tegucigalpa, Honduras. You are anxious, waiting in anticipation for what the country has
to offer. You’ve heard about baleadas, about the tropical heat, about the natural beauty.
You’ve heard a lot what’s been happening to this place. You grew up here as a child, but
there’s little that you can remember-

PANCHO
(Different voice.)
Y que más?

DESTINY
Huh?

PANCHO
Que más?

DESTINY
I don’t know...

PANCHO
Tu sabes más.

DESTINY
Uh...
Parts of Tegucigalpa are very clearly dilapidated, and you feel a tinge of danger as you
walk through the streets. But somehow, that doesn’t complete the picture in your head of
what this place is-

PANCHO
Si, pero estuviste allí?

DESTINY
Huh?

PANCHO
Estuviste allí?

DESTINY
I think right now we’re just painting a picture-

PANCHO
Pero la pintura está incompleta.
Estuviste allí?
 9.

DESTINY
I...

A shift has happened between DESTINY and

PANCHO - a ball has been passed. PANCHO
has snapped out it.

DESTINY
(To the audience.)
Miralos: serapes! Quien quiere un serape?
Si, tu quieres? Cuarenta dollares, para una
buena causa.
Cuarenta dollares?
No?
Treinta. Mi oferta final.
Estas telas son muy cómodo. Pueden para
dormir, o para tener abrigo. Necesitamos
estas telas antes de la medianoche.
Veinte. Veinte dollares.
Dinero esta bien, pero tengo Venmo y
Cashapp tambien.
PANCHO
Destiny, I think it’s important for our
participants to know- Destiny? We’re not
even Mexican. These are Mexican fabrics.
You are Honduran, I am Colombian.
(To the audience.)
First of all, just so you all know, these
aren’t yoga blankets, that’s actually the
incorrect term. They’re serapes, some yogi
from San Francisco bought a whole bunch
of them from the Spanish army - they just
had a bunch of these lying around.

PANCHO
(Different voice.)
How connected do you feel to Honduras?

This stops DESTINY in her tracks.

SCENE II: POSSESSION/SUMMONING

DESTINY and PANCHO have become

possessed by various spirits, including Shakira,
Valentina, Frida Khalo, and Federico Garcia
Lorca.

The spirits force them to dance and inhabit

different characters. At some point, PANCHO
(as Valentina) grabs a serape and they begin to
do a fabric dance.

When the dancing comes to a close, they cover

themselves in the serape.
 10.

When the serape is removed, DESTINY is

revealed to be blindfolded.

She summons an entity into the room that takes

hold of PANCHO. There is a point where she
bids for him to take off the blindfold, and when
he does so, their bodies begin to struggle against
each other.

At some point, they begin to use the blindfold as

a web that traps them together, and then as a
map. It guides them to the wall, and they are
propelled off of it into the next scene.

SCENE III: LXS ANCESTRXS

PANCHO awakens as if they were in a trance.

DESTINY, for some reason, is dancing some
cumbia steps.

PANCHO
Whoa...
(Sees audience.)
Whoa...
Uh...
We’re so sorry.
This is-
We’re just gonna continue the seminar. I’m not really sure what happened, but we
apologize for any confusion that might’ve occurred. One minute, I was here in front of
you all, doing this presentation, and then I spaced out...
(To DESTINY.)
I’m really sorry, Destiny-

DESTINY (SHAKIRA)
(Dancing.)
CUMBIA!!

PANCHO
(Pause.)
...Yeah. C-Cumbia.
(To the audience.)
Let’s talk about Latin dance!
Cumbia, in particular, is a style of dance that comes out of the music associated with it.
 11.

In a cumbia song, there are a lot of influences at play: you have the African drums, the
European accordian, and the indigenous gaita, and these three things combine to create a
unique, revelrous sound-

DESTINY (SHAKIRA)
Donde están mis bailarinas?

PANCHO
Huh?

DESTINY (SHAKIRA)
Where are my dancers?

PANCHO
Dancers?

DESTINY (SHAKIRA)
Backup dancers? Para el concierto?

PANCHO
(Whispering.)
What are you doing?

DESTINY (SHAKIRA)
Bailando.

PANCHO
Right, but this was meant to be your section-

DESTINY (SHAKIRA)
Oh, baby, when you talk like that
You make a woman go mad
So be wise and keep on
Reading the signs of my body
I'm on tonight
You know my hips don't lie
And I'm starting to feel it's right
All the attraction, the tension
Don't you see, baby, this is perfection?

PANCHO
...So you don’t have anything to say.
 12.

DESTINY (SHAKIRA)
Talk is cheap! Venga aqui.

PANCHO
(To the audience.)
Okay, we’re gonna demonstrate some cumbia steps, cuz I guess this is what we’re doing
now...

DESTINY shows PANCHO a few steps, or a

phrase. They switch places, and suddenly
DESTINY snaps out of it. PANCHO has left his
body.

DESTINY
Oh wow...
Um...
What happened?
Pancho? Sorry I spaced out for a second-

PANCHO (VALENTINA)
Soy Valentina.

DESTINY
(To the audience.)
Pancho likes to...joke around-

PANCHO (VALENTINA)
(To a male audience member.)
Oye, chucho, que tal?

DESTINY
Uh, Pancho-

PANCHO (VALENTINA)
Te gusta Latinas, guapo?

DESTINY
(To the audience.)
I’m sorry, I don’t know what’s going on-

PANCHO (VALENTINA)
I am very well-versed in...el arte de seducción.
 13.

DESTINY
(Covering him.)
Ooookay, there might be children here-

PANCHO (VALENTINA)
Tell them to close their eyes.

DESTINY
Pancho, stop it!

PANCHO (VALENTINA)
It’s really sexy when you have your lips open for no reason, like this:
(Opens lips.)
Tengo labios jugosos.

DESTINY
This is very unprofessional.

PANCHO (VALENTINA)
Sometimes you have to be a little unprofessional in order to get...
(Whispers.)
...la pinga.

DESTINY
Oh my god! Pancho!

PANCHO (VALENTINA)
(Catwalks across the stage.)
And you can also walk like this, como una gatita...

DESTINY
Pancho!

PANCHO (VALENTINA)
Dios mio, there are so many cute boys on this side-

PANCHO splays himself on the floor. By now,

PANCHO has reached the other side of the
stage. He’s snapped out of it. Something has
taken hold of DESTINY.
 14.

PANCHO
What...what happened?
Why am I on the floor?

DESTINY (FRIDA)
Ayyyyy!
The pain in my heart, it stings, como un hacha.
It sustains me, keeps me going, but some days...

PANCHO
...Destiny, are you okay?

DESTINY (FRIDA)
Suffering is necessary in order to truly know why you were put on this earth.
El dolor en tu corozón puede iluminar verdades místicas.

PANCHO
(To the audience.)
Uh...so...right now, we’re doing a dramatization of-

DESTINY (FRIDA)
Ay carajo, stop talking to them.
Habla conmigo.
You’ve experienced suffering.
I can tell.

PANCHO
(Whispers.)
They don’t care about my suffering.
(Takes a deep breath.)
I think it’s more palatable for other people...if...if I play a part...they expect me to play.

DESTINY (FRIDA)
And what part do they expect you to play?

PANCHO
(A bit too loud.)
They want me to be the happy Latino with no contradictions. Gays want me to be their
sexy Latino fantasy, like I’ve come out of some Randy Blue video. I’m-more-Latin-than-
you people want me to speak better Spanish, and they’re very eager to take my card away
from me if can’t. White people want me to be safe and to never call them racist whenever
they make fun of someone’s accent or the fact that they can’t speak English.
(Re: the audience.)
...Shit.
 15.

DESTINY (FRIDA)
Pendejada. Your life is a painting.

PANCHO backs away slowly, disturbed. As he

does so, someone else enters his body.
DESTINY is back.

PANCHO stares at the audience, at DESTINY,

and then back at the audience.

PANCHO (LORCA)
Asesinos.

DESTINY
Whoa, whoa, whoa, don’t say that to our audience-

PANCHO (LORCA)
Son asesinos. Todos.

DESTINY
(To the audience.)
Soooo, I-I think this actually is a good time to bring up-

PANCHO (LORCA)
Porque te habla con ellos? No les importa.
No les importa cuando fui asesinado.
La muerte es en todas partes.
No puedes escaparlo.
(To DESTINY.)
Tell them about it.

DESTINY
(Long pause.)
Here in the States, you might’ve heard about what happened to Honduras. You might’ve
heard that it was a coup. But in Honduras, a lot of people say that it wasn’t really a coup.
They say that it was state-sanctioned violence. I think what really changed for me was the
feeling of safety, and the way that my family felt about safety. I remember when
Hurricane Mitch hit Honduras in 1998, and the way that it completely devastated the
country. I distinctly remember driving around with my family when I was eight, and my
sister pointing out that the trees were still bent over from the wind.
When the coup happened, I remembered feeling the shock as I learned that something
happened during the airport layover, and the Facebook messages that soon followed.
 16.

Whatever you believe, I want to make sure you understand this: whatever is happening in
Honduras cannot change unless if we first change things in this country. I’m not a
spokesperson for any of this. But I do know that the last thing Honduras needs is more
money from the United States, and that if they pulled out of their defense budget, then
90% of these problems would go away.

PANCHO (LORCA)
Deja de pensar en ti, abre tus ojos...

DESTINY
...and do what needs to be done in order to make things right.

PANCHO snaps out of it. In a daze, he looks at

DESTINY.

SCENE IV: CUENTAS DE COMIDA

A silence in the air. The summoning is

complete, and the ritual is over.

PANCHO
There are many types of chicharrón, and I love all of them.

DESTINY
As a 9 year old, this is what I did with my mom: I rolled and pressed tortillas.
PANCHO DESTINY
The first that I encountered was a long Rolled and pressed
spine of dripping morsels, each droplet a
piece of gooey fat.

DESTINY
The stove was a little too hot for my little hands to handle, but I did my diligent part in
the assembly line. Masa has such an earthy aroma to it. It smells like I’m with my family
and it smells like it knows exactly who I am. Tortillas are sustenance—they are humble
but / they are filling.

PANCHO
I don’t care if you think it’s decadent.

DESTINY
They are humble but they are filling.
They are humble but they are filling.
They are humble...but they are filling.
 17.

PANCHO
I don’t care if you think it’s decadent.
I don’t care if you think it’s decadent.
I don’t care...if you think it’s decadent.

DESTINY
You can never be too wealthy to enjoy tortillas with any meal. They have a simple /
flavor, but the nourishment comes from the heat and warmth of wood and fire that form
them.

PANCHO
It was a special kiss in the mouth, and I was happy to share it my palate. The next type is
a wedge-shaped piece of pig fat, fried, and usually / chopped up.

DESTINY
Eating tortillas has a way of rooting me in my Central American ancestry and the
land—there are many stories about how we are / descendants of corn.

PANCHO
Pig fat - fried, and usually chopped up-

DESTINY
Descendants of corn-

PANCHO
Pig fat - fried and usually chopped up-

DESTINY
Descendants of corn-

PANCHO DESTINY
Chopped up Descendants of corn

DESTINY
I am because corn is-

PANCHO
Arepas are a different type of creature that’s begging to be eaten.-

DESTINY
And corn isn’t homogenous-
 18.

PANCHO
They’re flat corn patties / and you can stack them on top of each other with cheese or
beans in the middle.

DESTINY
It’s not all just yellow or white. Some corn is blue, red, and multicolored / in the most
incredible mosaic.
PANCHO DESTINY
I don’t care if you think it’s decadent! Yellow or white, blue, red, and
multicolored

DESTINY
Some kernels are sprinkled with the most eclectic array of hues and shades.
PANCHO DESTINY
I don’t care if you think it’s decadent! Hues and shades

DESTINY
I like that I belong to many hues and shades.

PANCHO
My only real interaction with mi abuela was watching her pace back-and-forth
throughout the house due to her Alzhemers.

DESTINY
I like that I come from a crop of many vibrant expressions.

PANCHO DESTINY
She kept packing and repacking her bags, Rolled and pressed
Packing and repacking Warmth of wood and fire
Packing and repacking Descendants of corn
Packing and repacking Yellow or white, blue, red, and
Packing and repacking multicolored
Packing and repacking Hues and shades

PANCHO
She kept packing and repacking her bags, thinking she was about to leave for a trip, when
in reality, she just arrived. I asked her if she wanted breakfast, and she said yes, / and I
cooked her an arepa.
I never cooked anything in my entire life, but I was proud to know that the first
thing I cooked was an arepa.
Somehow, instinctually, I knew you were supposed to cook it with butter, and I knew I
was supposed to put cheese on it.
She ate it in silence, then she said something to the empty room in Spanish, but I didn’t
understand what she said.
 19.

My mother came back from shopping with my nieces. She told mi abuela to get
ready to go out for breakfast, but I told her that I already cooked her food.
“Really?” she said.
“Yeah,” I said.
“...And she ate it?”

SCENE V: LESDOS

DESTINY and PANCHO are now zoomed-in,

seated at the center of the stage. They do a
puppet show with their hands. The following
text is played as a voiceover:

A motherbird laid an egg inside a drum. It was a very difficult birth, and she gave her
remaining strength and life to her children. With her final breath, she imbued her spirit
into the drum. From there, Lesdos was born. Lesdos are two birds of a feather. The
rhythms of the drum helped them stay nourished, learn how to fly, and navigate the
terrain that surrounded them. They didn’t always agree on the best way to do things, but
their complementary viewpoints always kept them in balance. After disagreeing on which
seeds to store in the winter, they migrated and went their separate ways. During their
respective flights, they discovered the distance that each was capable of, but they also
experienced the loneliness of the journey, and it gnawed inside of them. When the
seasons changed, they felt the beat of each other’s inner drum, and they each migrated
back to their home, back to their mountain, back to their familiar grove of trees. As they
flew together, they rediscovered patterns and ways of moving that were only possible
with each other’s aerodynamic gravity.

SCENE VI: GEOGRAPHY

The stage has been set so that the audience can

walk through it.

BELLE
The smell of pine from my grandmother’s guest room closets. I can still smell it from my
expired Honduras passport. I remember waiting for what felt like hours at the embassy.
How the hell did my parents organize international travel for 4 children as part of our
growing up?

Socializing in Spanish. My head feels less full, my heart feels lighter. I feel like I can
laugh more.

I feel close to my culture when I get the sensation that my mom, aunts and I are
connected to the same late night hip shaking dance party only a generation apart.
 20.

A block party just off Washington Avenue in South Philly hosted by an artist I aspire to
become like someday.

Cafe de olla and guac with brunch at my friend’s house in Southwest.

Home is passport stamps and embroidery from all over Central America.

Home is ni de aqui, ni de alla.

CARL(OS)
Sitting in the Pollo Tropical on US1 made me feel like I knew everything about cuisine.
The Tropichops had a piece of every country inside of it, and I felt like I was tasting all of
them. A piece of Mexico in the corn, and a piece of Colombia in the chicken, and a piece
of Honduras in the rice, and a piece of Argentina in the beans.

In Boston, I discovered a Peruvian sweater. It had alpacas printed all over it, and as soon
as I wore it, I knew that I belonged. I wear it everywhere I go now, and I’m proud to own
it. And yes, I feel sexy when I wear it, and just to set the record straight, I’m gay as fuck.

There was a tiny house in Bogotá with 30 cousins crammed into it. They all sang happy
birthday to me, and they all asked me if I remembered them. Truth be told, I only
remembered a few of them. They’re still waiting for me, and one day, I hope to join
them.

When we visited Andés, it was like I was on a movie set. I’ve never seen palm trees with
mountains on them, and after that experience, I wouldn’t have it any other way. It looks
like a place of great adventure.

PANCHO
(To DESTINY.)
On a scale of one-to-ten, how connected do you feel to Honduras?
(Pause.)
Or maybe it’s not a number?
(Moves to a corner.)
Is it like this?
(Moves closer to DESTINY.)
Or is it like this?

DESTINY
No...eso es demasiado cerca.

PANCHO
(Walks off-stage.)
Oh, like this then?
 21.

DESTINY
No...demasiado lejos.

PANCHO
(Stands right behind DESTINY.)
Aqui?

DESTINY
Si...justo detrás de mí.

SCENE VII: ENDING RITUAL

The setting has completely transformed.

BELLE is on one side of the stage, showing the

audience how to make pupusas.

CARL(OS) is on the other side, playing with a

Buddha board and Playdoh.

BELLE
Do you know how you learn how to dance? How to shape, stuff, flip a pupusa? It’s all
practice. Showing up. Staying present. It’s never about the dish itself. Sure, I can tell you
about the ingredients and where they come from, but what really completes the
experience is being surrounded by older and younger generations, feeling directly
connected with the land my grandmother has tended to for decades, and drinking lime
juice fresh from the tree I can see outside my window. It’s about interconnectedness and
there isn’t anyway to recreate it by reading a book or memorizing another language’s
grammar or syntax. You have to be loved into your sense of belonging.
As a child, there were a lot of experiences that made me confused about what home
meant. Although I was born in Honduras, I spent most of my childhood growing up in the
Philippines.
I remember when we spent some time visiting Honduras, and I told my mom I wanted to
go home. She said, “This IS home.” And I was so confused.
And I wish that they taught me Spanish - it really felt like a missed opportunity.
But making pupusas makes me feel connected to my ancestors. My grandmother taught
me how to make them, and it’s a tradition that’s been passed on from generation to
generation.

CARL(OS)
Hi there.
I’d like to talk to you about my identity.
Identity is a really complicated thing for me to talk about. I used to believe that in order
for me to claim an identity, I had to follow a set of rules.
 22.

I kept doing all sorts of things in order to make myself feel like I had a right to my own
identity. I used to think that speaking Spanish, standing up to shake a woman’s hand, and
being straight meant that I could claim the title of Being Latin.
I...couldn’t do any of that. It became something that I couldn’t sustain.
Can you all take this board and pass it around? Put something on there that other people
expect you to be. It can be a word, or a symbol, or you can even be abstract about it. I
always appreciate that.
Then, I tried something different. I decided that I was going to do my own thing, and
I...tried lots of things. I tried to be a bear for a while. I tried to chop the -os off of my
name. I tried to be a career actor. I tried all sorts of things, but the reality was, nothing
really changed. I was still made of the same material.
And that’s what identity means to me.