Regina Fernandez (Von Darius) is ecstatic to return to Theatreworks Colorado Springs, after previously playing Charmian in Antony and Cleopatra. Colorado Theater Credits include: Marianne Dashwood in Sense and Sensibility, Ann in All My Sons, Emilie in The Moors, Lu in Sin Street Social Club, and Miep Gies in The Diary of Anne Frank (Arvada Center); Ayah in The Secret Garden (Denver Center of the Performing Arts); Raquel/Claudia in Guadalupe in the Guest Room, Judy in 9 to 5, Scarecrow in The Wizard of Oz, Marcy Park in The 25th Annual Putnam County Spelling Bee, and Joy in This Day and Age (Creede Repertory Theatre); and Trix in The Drowsy Chaperone (CS Fine Arts Center). Endless thanks to Caitlin, Lynne, Lavina, and our amazing cast for making this a magical holiday season. All of my love to Harry, Kuya, Bro Jo, and Dad. For mom, always.
Regina Fernandez (Movement Designer) is beyond thankful to work with this incredible creative team at Theatreworks Colorado Springs. Previous Movement Credits include The 39 Steps and The Presidents (Creede Repertory Theatre); The 39 Steps (Lone Tree Arts Center); How to Succeed in Business without Really Trying and 42nd Street (Olympic Heights); and Magic Moments 2012. All of my thanks to Lynne, Caitlin, and Lavina for all of their endless support.
Regina Fernandez: Hello! So I was born in Montclair, NJ, and raised in South Florida, but have spent my last 7 years in Denver, CO.
TW: Home now?
RF: Funny you should ask because I just moved to San Diego a couple of months ago!
TW: Who/what inspired you to get involved in theatre?
RF: It’s a really strange story, actually. My cousin, Alan, was babysitting me while I was visiting family in California. I was about five years old and I don’t know what inspired him to put this musical on, but he popped in the cassette tape of Les Miserables. Well, we get to the point in the musical where (spoiler alert***) Eponine dies and I go, “Whoa. Someone gets to DIE onstage?” And from that day on, I was hooked.
TW: Who are your theatre idols?
RF: Growing up it consisted mainly of Broadway legends like Audra McDonald, Lea Salonga, Priscilla Lopez, and Debbie Allen. Nowadays it’s artists like Nataki Garrett, Jenn Thompson, Lavina Jadhwani, Caitlin Lowans, Lynne Hastings, Maria Manuela Goyanes, and Delicia Turner Sonnenberg.
TW: What is one thing we should be doing to foster the next generation of theatregoers?
RF: As theatremakers, I think our new objective should be to challenge the status quo and venture into new horizons. Show audiences new and exciting works or classic works in a fresh way. Awaken their senses and their artistic “palate”. Create conversations around contemporary themes and human connection. Cast in a non-traditional sense and, not only do I mean racially, but also in relation to access and identity and sexuality. I think that’s why I’m so excited to be back at Theatreworks. It’s an exciting time to be working with this specific group of artists in this amazingly inspiring place.
TW: Favorite place you’ve performed/worked?
RF: Wow. It’s hard to choose just one. Actually, ALL of the places that come to mind are Colorado theatres: Arvada Center, Denver Center, Benchmark Theatre, CSFAC, and of course, Theatreworks. I do have a special place in my heart for Creede Repertory Theatre. I was lucky enough to call CRT my artistic home for two seasons and in 2018, I got to play a Scarecrow, a gun-toting 70’s housewife, and a telenovela superstar. All the while singing in their Jazz Club and being a part of Boomtown, their long form improv troupe. It was creative heaven!
TW: What is your bucket-list role/show?
RF: Maggie the Cat or Blanche Dubois- my heart is in a lot of classics and these two roles are traditionally not cast with actresses who look like me, so it would be a dream come true to get the chance.
TW: How do you eat an Oreo?
RF: Apparently there’s a science to it. A good friend of mine told me about “Oreo Day” and how you put an Oreo onto a fork and dunk it into some really cold milk for a couple of seconds. After it’s soaked, you just stuff the entire thing into your mouth, chew, and swallow. I’ve tried it. It’s amazing. And that’s just science.
TW: Why does Around the World in 80 Days matter now?
RF: It’s a beautiful story about connection. The world can be a terrifying place for sure. Just watch the news or scroll the comments on your favorite social media site. So it makes sense to want to shutter up your life and stay inside. Fogg does just that. He goes to the whist club and he comes home. The only other human he sees during his day is his valet, James. He keeps to himself but you can sense there is a yearning there. First, he agrees to this bet that will take him around the globe and then, the more people he meets, the more he connects to the world and to others. We start to see his humanity and he comes to life. That’s what I love about this story.
TW: What’s on your playlist these days?
RF: Oh my gosh, EVERYTHING. The Beatles, Ella Fitzgerald, a lot of 70s folk, RuPaul, Sara Bareilles. Majority of the time nowadays, I have been listening to our brilliant sound designer’s (Carlos Flores) music for the show. So it’s safe to say if it’s not jazz or Lizzo, it’s most likely 80 Days!