We sat down for an exclusive interview with Emmanuel Pichardo Caballero. Emmanuel is the actor/playwright/director of the show, Waiting for Julieta, which is a bold Mexican reimagining of Shakespeare’s tragedy to Voila! Europe Theatre Festival 2025.
This show runs from 9-11th November at Barons Court Theatre. Tickets here.
In what ways does embodying Julieta allow you to challenge or reclaim traditional narratives around masculinity and femininity in both theatre and society?
Being born a man in a country like Mexico implies growing up under gender stereotypes that are very rooted in “machismo”, therefore just thinking about playing Julieta thirty years ago was unimaginable. Doing this now is both an act of courage and a way of liberation; a statement of freedom for me and everyone.
How does humour function in the piece—as a coping mechanism, a subversive tool, or something else entirely—in the face of societal oppression and personal longing?
In Mexico you learn to laugh over the everyday tragedies, we have a sense of humor to face the violences that we encounter in every aspects of life: personal, social, political. We have this quote “reir para no llorar”: you laugh so you don’t cry.
What elements of northern Mexican identity are central to the reinterpretation, and how do they shape the characters’ struggles between personal freedom and cultural conformity?
The music, the traditional northern party “carne asada”, the costumes and the language adaptation, ‘cause we mantain some Spanish in the show; but also the violence and other issues particular to the border between Tamaulipas (Mexico) and Texas (US).
How has the audience response differed between Mexican regions and international festivals, particularly in relation to the play’s themes of gender and romantic mythology?
Surprisingly, the gender and romantic issues have remained very alike, despite the geographical differences; everyone has a failed love story that resonates and connects with the ones we share in our show. This is the first time we’re going to perform it in English, but we think that language is not going to be a wall.
By choosing to reimagine Romeo and Juliet through cabaret and performance art, what kinds of emotional or political truths were you able to reveal that a traditional staging might obscure?
Romeo and Julieta has been told many times but what makes it interesting in our show is how it connects with our own stories, we rely on the authenticity of confession that biodrama provides, also the elements of cabaret allow us to create a space for interaction and, therefore, a close relationship with the audience.