August 16, 2022 • 48 mins
Talia Thiesfield is a mult-culti force of unapologetic brilliance, and she's letting us in on how she became the incredible person she is today. A Haitian-Puerto Rican actor, a voiceover artist, and a career & talent coach? What are you waiting for? Tune in. Class is in session. Te invito.
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Speaker 1 (00:00):
Or yah me hinted. I just want to give you
a heads up. The program you are about to hear
may have some explicit language, it may not. It also
depends on where the vibes and the spirit leads us.
Hope you enjoy. Welcome to more Anita, a deep dive
into the Latin X experience. With more Anita, we want
(00:22):
to create a community and a shared space with you
while sharing knowledge and inspiration. This show is about celebrating
our culture with guests who exemplify the best of us.
I'm Darrylene Gastillo, Ethane Viatle or you'll be hinted. Today
we have the Thalia theas Field. Salia is a Haitian
(00:45):
Puerto Rican actor and coach, and if you've owned a television,
you've probably seen her on. She holds an extensive resume
and has been seen on shows such as FBI, Succession,
In Trolls, Topia, Deep, and so so so many more.
(01:06):
Not only is Salia killing the TV film game, she
is a stage actress as well. She has just finished
starring in a play called Windfall, directed by the Jason
Alexander That's right, George from Seinfeld at the Bay Street
Theater Baliyah is a force and she is unapologetically authentically herself,
(01:27):
which explains why we here at Monanota are obsessed with
her and trust me, you will be too. Balia and
I dive into her journey into the arts. She shares
how her parents have always had a love for the
arts and music and how that love was passed down
to her. Also how an unexpected casting moment changed her
(01:49):
life forever. Oh and warning lion, tigers and bears, Oh
my had a hand in this. It's a good one,
So stay tapped. In Baliah's journey to the stage and
screen involves so much more than her artistry. We unpack
how her cultural experiences have lended a hand throughout her
journey in finding herself. So, me, being domin again, I
(02:13):
had to ask Thaliah about her roots. I was curious
if she had ever experienced any identity struggles within her
patient culture. Now, if you share Caribbean roots, you might
understand what I'm talking about, and if you're Dominican, you
especially know what I'm referring to patients versus Dominicans. So
(02:35):
now this might get controversial, but a little controversy can
bring out some great insight and some deep thoughts. Baliyah
and I we dive right in on this topic. We
don't hold anything back. We definitely don't shy away from it,
and I don't want to spoil it for you. Just
so you know, no sugarcoating, and a reminder to you
all that we are speaking from our own personal experiences
(02:58):
and here we are sharing if you Salia, welcome to
Morenita like typical New Yorkers what yes? So okay, So
(03:20):
first off, just so the listeners are aware, you and
I have known each other for a very long time. Darylyn,
it's been like over a decade. Wow. I met you
when I was I was like fresh, I was like
just starting. I was like you were a little baby street.
What's this you came through like I'm just baby, and
(03:45):
Dalia was like, okay, girl, let me tell you what's popping.
I mean that was ten years ago, but I was like,
I definitely was already approaching my pp face. So you
were like, I took took us all under your wing. Yeah.
At that time, we did a show called Marie Christine
Yes years ago in like I don't even remember where.
(04:09):
It was, like by the World Trade Center. It was
like some random theater. Yeah, it was like a where
it was a Columbia University production and we did it.
We did it in a warehouse type of situation, right,
Like it was a studio warehouse performance space down in
the financial district. So weird, but it was fun. I
(04:29):
made a lot of friends. I mean, we made a
lot of friends that I think. I mean, I still
talk to you to this day, which is rare in
this industry. Um. But let's back back it up, back
it up, back it up a little bit about you.
How did you catch the bug? So, if I'm gonna
be honest, I got to give you, like the childhood
(04:51):
te um. I kind of fell into this by accident.
My mom was a working mom. My dad is a photographer,
so he worked from home, and so summertimes I was
a camp kid. They just needed to get me out
of the house. Um. And so I I had done
every camp you could think of, like science camp, art camp,
(05:14):
like every sport camp. And once somewhere my mom was like, Okay,
we're gonna try a theater camp. And I was like,
all right, so I go, and you know, we have
our little auditions on like the first day, we're doing
the whiz and I really wanted to be the lion
because I love to entertain. I wanted to be the
(05:35):
fun one. I wanted to be the one when the best,
most outrageous costume. So I got up there with my
little this is gonna age me. I got out there
with my little Walkman tape cassette with the headphones, I
had the I had the music in my ears, and
I say, Vanessa Williams saved the best for last. Yes,
(06:00):
I clearly knew nothing about singing for the role that
you we wanted to audition for. I said, I'm going
to sing the song that I like, and you like
it exactly. So then the castlest goes up. Like the
next day, Mom picks me up from camp and I'm
I'm just bawling, and she thinks that like I didn't
get a part, or like, you know, I wasn't happy,
(06:24):
like I was in the ensemble or something, and she goes, oh, well,
you know, like what part did you get? And I said,
I got Dorothy Darylyn. I was so mad. I was like,
damn in my little like fourth grade head, I was
like that hou was boring funck this bitch, like who
(06:45):
wants to play Dorothy, I want to with the fur.
Where's the fur? Already? In like the fourth grade, I
knew you need to dress me in fur, baby, like
I don't want to like checker dress. So I was mad. Um.
Then cut to the next when we started rehearsals, and
I realized that everything was about me and here we are.
(07:08):
That is how we got here. Rylyn, you could thank
my mother for putting via theater camp because it was
all downhill from there. So from there that was it.
You caught it. You were like, this is it? And
you grew up where uh in Connecticut. My whole family
is from the city. I've spent a lot of time
in the city. I split time between Connecticut and the city.
But technically I was raised and went to school in Connecticut.
(07:29):
Um so yeah, but my parents really made sure to
instill the arts, um and to me make it a
huge part of my life. Like I said, my father
is a photographer. Um. You know, we grew up with
pretty modest like lower middle upper middle class. In between
their um household. We lived in like a little two
(07:51):
bedroom condo in a small town in Connecticut until I
was thirteen. And our house, you know, we didn't have
a lot of money, but my parents spent their money
on art. So we had this little condo with fabulous
art on the walls. And like my parents, every Sunday
it was no TV. In the morning, Mom would make
(08:14):
brunch and we would play music and it was classical
music and jazz and so um. I was one of
those kids that tried everything, like I'm a do gymnastics,
I'm gonna play piano, I'm gonna do But always art
was a part of my life, so um and going
to the city was a big part of that too.
So I think we've spoken about that a bunch of
(08:35):
times where we both have these similarities of being having
the exposure of being in the city and being able
to see our people and people that look like us.
And then for me going to Rockland County, you know,
being the only Dominican, the only brown Latina in the room.
You know, that gave me insight. I'm like, oh, there's
(08:55):
more out there in the world, and I tell people
I'm for Latina. My my father is from Haitie, my
mom's Puerto Rican. Um. So, I don't really identify with
the whole like mixed kid conundrum because even though I
grew up in a predominantly white town. Um, I was
so surrounded by both of my cultures, uh that I
(09:17):
was never lacking or wanting for that um And as
a little kid with a big gass mouth, I made
sure everybody in that white town knew who I was,
you know, like there was no question, Like I was
the multi culty, black and Latina kid, and everybody knew it,
and I didn't shy away from it. And I think
(09:39):
that that's a credit to my parents because of the
food we ate and the music we played, and you know,
them getting me out of town and bringing me into
the city, so I was able to bring that into
my suburban experience. I'm always like, how did you do that? Like,
I hope whenever I have kids, I hope that I'm
able to instill that in my children. It's something that
(10:00):
think about constantly because I'm like, I don't have like
the formula that my parents instilled that confidence or like
that that knowing of who I am, that knowing of
being of who I am. And I'm always like, how
did you all do that? Yeah? Of course, like the
music and all of that, But like I remember being
challenged as a younger kid in these white neighborhoods, and
(10:22):
you know, obviously having that same energy of like I'm Dominican,
you don't know what it is, google it like by
like go get a book. I can't help you. Right,
there was no question. There was no question, and I
didn't I didn't shy away from it at all. Um.
And as a matter of fact, I even have like
some memories of like being a kid and finding ways
(10:45):
to like incorporate my Latina and like my my Afro
Central roots in like in my school work. When it
was time to do a biography or something like write
a biography or do a project. I was always seeking out, um,
you know, inspiration from. I think I did a biography
on Sammy Davis Jr. And another one I wrote a
(11:07):
biography I think in the fourth grade on like Celia Cruz,
and then I wrote one on on Jim Henson because
obviously muppets. But my influences were from so many, so
many places. Like I was such a nerd. I was
so obsessed with comic books and muppets and like animation. Um.
(11:31):
But then you know, we would dance outs in the
living room, Like don't ask me to dance out so
though I'm a terrible partner. Agree, Is it because you
only like to lead? Is that the problem? I only
can lead? So I think the reason why I can't
dance with a partner is because and you know this,
Oh my god. We talked about this at the last
(11:53):
dance callback that we had together. We were in a
dance callback together a few months ago, and I would panicking.
I had never been in a dance callback where they
made you partner for in the heights. Remember, I was panicking.
And I think the reason why I'm a terrible partner
is because I didn't have a sibling until I was thirteen.
(12:14):
My brother wasn't born until I was thirteen, and all
my cousins lived in New York and none of them
really danced either, Like, none of my cousins really danced.
The only people who like really dance were like the
Thea's and like the older cousins, like my mom's cousins.
So like they would kind of like grew with me.
We would go to Jones Beach and like they would
pull up the drums and everything, but like I didn't
(12:36):
have anybody to actually partner with. And then I would
go home to Connecticut. And like, there wasn't anybody in
Rocky Hill, Connecticut that I was partnering with. So I
would just dance by myself. That's all I know. And
so listen, give me, give me a beat, and like
I will spend myself, I will dip myself. I would
(12:56):
do all the tricks. But try to do that with
a part No, No, I can't. My problem is I
just don't like it when people lead me. I'm like,
let me lead, especially when it's a man and we dance,
and I'm like, I think at the audition, I mean,
my poor partner, he didn't know what he was doing. Bless.
You want to remember your name, but Bless. And then Luise,
which we've had on the show here before. Luis Um
(13:19):
he came a dance with me and partnered with me
for a second. He's like, yo, let me lead, and
I'm like, no, listen while he tried. He danced with me,
and I was like, oh my god, thank god, because
I knew he was just gonna move me around like
a rag doll. That was like this yes and then
and I oh, he made me feel like a lady.
(13:42):
I was. I was like, I didn't have to do
anything I was like, yes, move me around, spind me around.
I walked out of that dance audition feeling like I
was like, oh, I just killed it, very very damn
well that I probably didn't just kill kill it. Luise
just threw me around like a rag doll and may
me look good. Shout out to Luisa got the first
(14:02):
throwing us all around like rag dolls. But also making
this feel so special. He's incredible, such a great I mean,
that was my first time ever seeing him in action
and like dancing in action, and I was like, okay,
I get it, I see it. I feel its energy.
Energy was so good. And also like how many times
have you ever been in a dance call where we've
(14:25):
gotten to do that as a community. Also like that
was that was I've been to a few in the
Heights calls and I've never been to one like that.
In the Heights auditions UM are always going to feel
different than any other audition, even even as somebody who's
multi culty, Like even when I go to UM an
audition for like a predominantly black show, it's different, and
(14:48):
all the final show it's like going to the club,
yes you know, and and it's like the waiting room
is like everybody knows everybody. They're speaking Spanish like and
you know, me like, I don't even speak Spanish like that,
but I'm like, like, you know, getting in on the conversations.
But that one, you're right, that one in particular, And
(15:12):
I don't know if it's because it was coming off
of the pandemic. I mean, I know that had to
be part of it, but you know, for those who
weren't in the room, Luise started the dance call back
with all of us in a circle and just really
focusing our energies and connecting, and it was so special,
(15:33):
and it was really just a testament to how Latin
culture is really about community and the way in which
that when we got that dance call started, the way
in which everybody was helping each other. I had never
been in a call where you could feel everybody rooting
(15:54):
for you. There was no competition. Everybody just wanted every
body to feel look and do good and so like
I could have fallen flat on my face. I didn't, though, right,
but I could have fallen flat on my face and
I still would have walked out of that room being
like this was the best call I've ever had, because
(16:16):
the energy was just right. It was and it actually
was for me my first time ever going in for
in the Heights. Something that i want to touch face
(16:38):
with you on because I'm just curious, especially being Dominican,
but I'm curious for you your connection with your Haitian roots.
I have just never understood the disconnect. I have always
viewed it as a family. It's the same island, but
there is like this deep rooted, obviously historical hatred, um.
(17:02):
I think also from it could be from both ends,
And I'm so fascinated to hear your experience of being
patients to me are like I don't see them as
far as off Latinos as I mean, I I don't
understand that. So I'm so curious for you how you've
dealt with that growing up. I'm not Haitian, but I've
(17:24):
heard so much about it within my culture and within
the Caribbean culture, and I'm just so curious what that
experience was like for you, being both Latina and Haitian.
That's an incredible question. Um. I will say, you know,
to a certain extent, Uh, naturally, I am a little
bit biased, So before I even get into that, I
will acknowledge that. Um, but I am a person and
(17:46):
I think you know me to be a person who
really tries to be diplomatic and see both sides. That
being said, that wasn't something that I really dealt with
until adulthood. UM. Mostly because where I grew up there
were more Puerto Ricans than Dominicans in Connecticut, and I
(18:07):
just wasn't aware of that history until I got older. Um.
I became aware of it when I got older, but
still it never really affected me until I moved here
to this neighborhood. I live in Hamilton Heights, just below
Washington Heights. There is a rich Dominican community here as
(18:29):
well as others. There are actually there's a Haitian church
right down the street from my apartment. Um, so there's
a mixture, but it's it's mostly Dominican. And UM. I
remember a long time ago, I was working in a
little restaurant down the street, like on one and these
two adorable little yahita's come in like they were they
(18:51):
were best friends. These two panas come in and they
order their little service gas and they're sitting by the window,
and they were adorable. And then they start talking to me,
and you know, I'm answering in my like spanglish, but
basically they're saying to me like, oh my god, you're
so beautiful midas holes. And for those who don't who
can't see me or don't know me, I have blue
(19:12):
eyes and beautiful of you know, people think they're cool,
but they're going on on, oh my god, oh my god,
what are you? And I answer and I'm like my
mother's Puerto Rican my datation, and immediately their faces, I know,
(19:34):
I beah, no know, and the reaction was like, you
can't possibly look like this and your Haitian. That was
the first time I had ever experienced that, and then
I think that opened up the door for me noticing
(19:54):
microaggressions here in my neighborhood, you know, going out to
a bar into some guy and being like damn, he's like, oh,
where are you from? What's your background? And you know,
and I'll be like Puerto Rican a Haitian. He's like, oh,
you Haitian. So it's something that's still kind of new
to me, and my thoughts around it are that, you know,
(20:17):
it's a form of colorism. It's a form of racism,
and just like any other racism, it does it starts
in the family. I know most of my Dominican friends
do not share that sentiment. Um. I think it's an
old school, uh antiquated point of view as well. And
(20:39):
because of that, I think that's why it's it has
to be ingrained in family to carry on. UM. So
I think younger generations are letting go of that sentiment. UM.
It also is just prevalent on the island. I think
people here who still have that mentality are people who
(21:00):
emigrated from island, because even I have like younger cousins,
and the mentality it has stuck because they have come
from the island. This is where my bias may come in.
But I think it really comes from a lack of
understanding about the history. Um. There is a lot of
(21:21):
confusion about who took over who, who kicked who out,
who did this and that, And we're talking about hundreds
of years ago, right. Um. The fact of the matter
is we're on the same island. And you mentioned that,
you know, you don't think that Haitians are that far
off from Latinos, Well they're not. I mean, we're on
the same island and there are there are so many
(21:45):
Haitian Dominicans who acknowledge their Latin ead Um. And there
are so many Haitians who may not have direct Dominican
blood who still consider themselves Latino or Latina in a
certain aspect because we're on the same land. And you know,
(22:07):
we could go on and on about the actual history
that that's misinterpreted and missing understood. But basically, um, what
it boils down to is and and this is the
same thing for colorism in the African American community. What
it boils down to is the perpetrator is the colonizers,
(22:28):
and the colonizers were the Spaniards. And you know, if
we want to talk about who did what to who,
that's what it boils down to. But because Haitians and
Dominicans are the ones who are now on the island,
they are the ones who are blaming each other. Does
that make sense? It just gets passed on and passed on.
(22:51):
And um, I think any people who are going through
a struggle or living in adversity or underprivileged or you know,
there's going to be animosity and there's gonna be um
a want and a need to point a finger at
(23:14):
a cause. And I think that's a lot of what's happening, um.
But basically it's about misunderstanding. It's about not really understanding
um our own history and not being able to let go. UM.
You know, I think there is a lot to be
said for generational trauma and um, you know, especially when
(23:39):
it comes to black community, African American community, and the
way in which we still struggle with and hold onto
the trauma of our slave ancestors. I think that that
can also be applied to a certain extent, But there
also has to be the personal responsibility of saying, I
(23:59):
acknowledg edge this trauma. I acknowledge and honor the experience
of my ancestors, but I am me, I am Talia
Gtti that these field in two and this is the
trauma I need to learn to let go. These are
the ingrained things that have been taught to me that
I need to let go. We need to take personal
(24:22):
responsibility for changing the narrative. Absolutely, I think that was
beautifully said and beautifully answered. Um. And just the curiosity
going further into this question you mentioned you've dealt with
it more, you know, moving into Hamilton Heights and seeing
it more in that area and that energy, is it
ever something that you've ever confronted your family with and
(24:43):
kind of like talked with them about because it was
something you've never experienced when you were younger. You know
what's funny. Um, I think part of the reason I
was such a strong willed, opinionated kid and person for
a very long time. Those who know me know I've
(25:03):
chilled out a lot um, but I used to, you know,
I was o g facebook like like going off on people. Um.
I think the reason why I grew up like that
is because when I faced any kind of racism as
a child, and again, it wasn't something I came up
(25:24):
against often. But you know, the first time somebody called
me the N word on the playground, I kicked him
in the balls, Like I was like what, Like I
didn't you know, I didn't have it. And I think
that's partly because my father, Um, he didn't acknowledge racism.
He's like, I don't care what you say, Like you
(25:47):
can call me, you can call me the N word,
you can call me whatever you want. But like I'm
not that so by, you know, And that's kind of
what he put in me. So like I've never really
in one whenever somebody's come at me with racism. For
the most part, it doesn't bother me. I just laugh
(26:09):
at it because I'm like, okay, like what does that mean?
Even tell me something I haven't heard, right, Like you know,
like once, I remember one time when I was living
in l A. And then this was like, um, during
Obama's first run for president, there was like some woman
she happened to be black in a ross and something happened.
(26:32):
The cashier happened to be Asian, and she went off
on the Asian woman, and I was like, yo, sis,
like continent, We're not doing that, not this, not when
we're about to have a black president. Don't Because she
was calling her like racist names. I was like, Sis,
don't do that. And she turned to me and she
called me a half breathe and I looked her in
the face. I laughed so hard, and I think my
(26:56):
my response was like, well, you're about to have a
half breed president's so have a good day, like I did.
Like I just was so unbothered. But I was like,
what does that even? Yes, I mean, if we're gonna
get technical, I mean, yeah, I'm a half breed. It's
a shitty name for it, but like, yeah, Okay, So,
(27:16):
like all this is to say that when I've noticed
stuff like this. Um. First of all, like I said,
I didn't start noticing um, this kind of animosity towards
the Haitian community until I was an adult, until I
lived here, and I think I I already had been
able to like process things differently. UM. So I never
(27:38):
really went to my parents about it. I never really
talked about it. I think I kind of was just like,
that's stupid because that was the energy that you were
receiving from home. To was like, wh I talk, what's
the point, what's the point? It never made sense to
be like that animosity never made sense to me because
I'm like, yo, we're on the same island. Also listen
(28:02):
again here comes to bias. Also, what the funk are
y'all complained about? We're the one with the hurricanes and
the earthquakes. You're chilling, like, tell me how we're on
the same island and Haiti is getting all the natural
disasters and you're just like, uh, like salsa the beach.
You know. I never understood it. I never understood it,
(28:24):
and I never ingested it. I never I never I
never let it. It's just never really affected me because
I just thought it was so fucking stupid. I love that.
I love that answer. And I honestly, nobody I know
of any worth to me who's Dominican has any inkling
(28:45):
of that mindset, that sentiment, and so like, you know
my business, right, You're like, I'll just take half of it.
It's fine, whatever. And so that's how people. I'm have
Puerto Rican and have Haitian. So as far as I'm concerned,
that makes me like honorary Dominican. I mean, you've always
(29:07):
been invited to the cookout on mine. Like if you
put if you put a Puerto Rican and a Haitian together,
doesn't wouldn't that make a Dominican. I'm just saying. I mean,
I don't know. The audience might have to weigh in
on that one. Some Dominicans would be like, now you
don't know, be honest, be honest. You listen, you you
you've already been famed for a decade for me. So
you've already been been at a cookout on my end.
(29:29):
So I already hard. I'm gonna piste off all your
audience members. But news flash, the many Donalds you're black, Oh,
they know that this is this is like what they've
been hearing that from you. You're black, so black and
Puerto Rican, Puerto Rican and Haitian. It makes a Dominican.
That's how you make a Dominican. That's how we mix
(29:52):
it up. That's how we mix it up. Um. I
want to revert back to you because I just think
because it's all about me that swing it on back
to Dorothy. It's all about Dorothy. Um. It's just it's
hearing you speak about where you come from and who
you are and your beliefs and how strong you are
(30:15):
in that it I've already known all that about you obviously,
but I think it also like helps our listeners understand
the kind of artists that you are and the person
that you are, which is really important I think now
more than ever, Um, and the work that you do.
And I'm curious how your experiences have bled into your
(30:36):
art and how that's maybe who you are and the
work that you're doing now and the work that you're
focused on doing now as an Afro Latina, because I
know it's evolved for me personally from the person that
you met and Marie Christine, I'm not that same person anymore. Right,
we don't take the same jobs. We ain't out here
saying yes, yes, yes, yes, no none of that. We
(30:57):
ain't doing that no more. Yeah. So you know, I'm
also a coach, UM and I a lot of my
coaching work, UM is a result of the self awareness
I gained as an actor. In retrospect, looking back, I
(31:18):
think what I struggled the most with was authenticity. UM.
I think a lot of artists struggle with that. I
think that's one of these we're always in our heads,
you know, yeah, always in that in that mindset. Yeah.
And it was a real mind fuck growing up, getting
older and like I said, being confronted with my identity
(31:46):
as an adult and a young adult, because I had
never had that confusion um as a kid. So you know,
when I went into when I when I stepped into
the professional industry, UM, I really found myself trying to
fit in um and fit boxes, to be black enough,
(32:09):
to be Latin enough. Um. And I think you know,
over time, the lessons that my parents taught me about, uh,
not caring what people think, you know, being unapologetic about
(32:29):
who I am, being unapologetic about being Afro, Latina, Haitian
and Puerto rican. Um. You know, I think it took
a long time. It took a lot of trial and error,
but I think that is what really shaped and changed
my work as an artist because I would say, you know,
(32:51):
it's been pretty recent recent, being somewhere between the last
like five to seven years, that I really feel like
I'm bringing myself to my work, um, you know, and
and and my experiences, UM finding ways I just did
(33:12):
before the pandemic, I did Into the Woods and I
played the Witch, and it was the first time that
I could really incorporate my experience, my individual experience as
a black woman, UM to the role. Uh. And I
think I think that was self awareness. I think that's
(33:35):
just growth maturity. UM. But yeah, I I do find myself, um,
bringing a more authentic version of myself that doesn't feel
like I'm trying to be someone else's perception of what
(33:59):
my call there should be. And that also applies to
being a woman. You know, I I am my own woman.
I am not being a woman of color is not
a monolith um and really embracing that, and most recently
as a coach, I've really taken that and made that
the cornerstone of my work as a coach. Um, I'm
(34:23):
really proud of the fact that a lot of my
clients UM come back to me because they feel seen
as people of color, as people on the lgbt Q.
I a plus spectrum UM because I I I really
(34:45):
just have a passion for making people feel safe and
comfortable in bringing themselves into their art. Um. It feels
like you know what it feels like, Darylyn. It feels
like something so inherent and natural that was just chilling
(35:06):
and like lying dormant in me for years And I don't,
to be honest, I don't know what it was that
unlocked it. But sometime around like five to seven years ago,
something broke open and I was like, fuck this ship,
Like this breakdown says this. I got a version of this.
(35:29):
I don't know if it's what they want, but this
is what they're gonna get. And being okay with that
and releasing any judgment with that. I think when I
learned to do that as a person in life, then
I was able to do it as an artist. But
(35:51):
I think, yeah, in order to have the freedom that
we want as artists, you have to find that freedom
as a human being. You have to and the freedom
to let go of self judgment and judgment of others.
You need to learn how to adopt an attitude of gratitude, UM,
and be grateful for the things you have and not
(36:13):
focus on the things that you don't. Um. And that
I mean, I think growing up as a woman of color,
that that was a journey for me, you know, looking
at other people playing the comparison game, wondering why these
people had something and I didn't, wondering, you know, why
I wasn't black enough, or why I wasn't Latin enough,
(36:33):
or you know, once I let go of all that
and said, that's not my concern. My concern is being
a bomb mass human being, being good to people, leaving
whatever little mark on this tiny little speck of a
planet that I can and that's it. And applying that
(36:58):
to everything that I do and my work and trying
to impart that on other people as an educator and
a coach. And you're doing it. I'm a witness of it.
You're doing it. And UM, I mean, as I mentioned
in the intro for Dalia, like, I mean, I can't
even count on my hands and number of TV shows
you might have seen her face on it and the
(37:18):
incredible work that she does on the stage. UM, I
know that you mentioned that Into the Woods was a
was a changing moment for you? Is there something else
that really stood out where like it felt like you
were a new person after that experience, Like what was that?
What was that? Five seven year what was that moment
for you? I would say right after that, that was
like the what cracked the door open? And the next
(37:41):
show I did about a month later, and it was
my last show before the pandemic was In the Heights
and I played Daniela. And never before have I ever
felt so connected to a role, like you know, a
special because when In the Heights came out, I was
(38:02):
a little bit younger, um, and I was, yeah, I
was going out for like Nina and Vanessa, even though
I kept telling them I can dance, um, but I
kept you know, I had aged into Daniela. And I
was like, oh my god, this is why I haven't
booked this show yet, Like this is me like all
(38:27):
day every day. And again it was my version of Daniela.
Like anybody who saw that show and I'm pat myself
on the back of this ship. You couldn't tell me
that wasn't unequivocally me in that role, Like I gave
(38:48):
all of my spirit to that and I had so
much pride and being Afro Latina in that show. Um,
and that really yeah, that was a show where I
really was like, I'm doing what I want to do.
And the pandemic happened and unfortunately, you know, things shut
down for a bit and I wasn't really able to
(39:11):
parlay that into another show for until this summer and
I just finished up a show at Bay Street Theater
in the Hampton's. UM. I did a show called Windfall,
directed by Jason Alexander. First of all, I just got
to say that Jason Alexander is a cham of a
human being, and UM, we had some really deep discussions
(39:36):
about my identity. Um. You know, there was a moment
in directing me that um, you know, he was trying
to get me to go in a different direction. And uh,
there were moments where he was he was telling me,
don't make her quite so aggressive. And I had to
sit him down and we had a conversation about what
(39:58):
the direction it's too aggressive me means to a black woman,
to a Latin a woman, what it means for me
to negotiate that and um, you know, reinterpreting what his
direction was in a way that didn't feel triggering, and
and and um was more productive for me. So that
(40:22):
was a pretty cool um learning experience. That was really
the first time that I was able to safely I
wouldn't say the first time because it happened with with
Into the Woods. That was the starting moment. But I
feel so much more confident and able to have those
kinds of conversations about my identity and how it relates
(40:46):
to the circumstances of the work and the character, and
how to effortlessly maybe not effort effortlessly because it is
not always Yeah, thoughtfully art is not art is not
always effortless, but thoughtfully consciously, UM, blend the two so
(41:06):
that I am honoring my experience and myself and and
and what I bring to this role as well as
the writer's vision the director's vision. And that's the battle.
That's always the battle. I understand exactly what you're saying.
That's that's most of the battle, because it's like, how
do you not walk in there and you're not like
fuck you? Or then the other end of it, then
(41:31):
you're quiet, and then you're feeling like you're dying inside
and you're like, I hate coming to work every day.
So finding that, honestly, honestly that comes with age. Because
I'm gonna tell you, what do I want to tell
I'm not gonna say my I'm usually not one who's like,
but it's a podcast, so like it's forever, so I
(41:51):
might I don't want to change my mind. So I
am anyways moving on. I mean retinal and hyaluronic as
it um. But I would say I am a woman
of a certain age. And when I turned this certain
age recently, I really said fuck it um. And and
(42:12):
I woke up the morning on my birthday. I had
been kicking and screaming on the way to my birthday
and I woke up on my birthday and I was like,
oh my god, none of this matters, Like so much
doesn't matter, so much is not worth my energy. And
(42:32):
you know that really changed my work, like aging and
self awareness, and my god, how that will change your work.
The way I auditioned now, Darylyn, I don't. I'm like,
bamboom boom, let's do this. Two takes tops done, like
(42:54):
three hours doing this? No who got the time to him?
And Hall over stuff and and perfect I don't give
a damn about perfection. I give a damn about like
punch him in the punch him in the face with
some talent, boom boom, tell a story like do good work,
but like if I flob a line, or if a
(43:14):
hair is out of place, or all the stupid ship
that we used to worry about. If you know, I
don't care who who else is in the room, or
who else has been, who has been invited to submititate.
I don't care who else they're looking at. Like it's
about me, don't y'all know, Like that's how I approach
it now. It's like I don't give a damn. This
(43:36):
is about me. This is my experience, this is how
I want to live my life. Like out of here, Darlia,
(43:57):
we have reached the moment that we've all been with
for the moment of the questions. Questions, questions, question questions, questions. Okay,
favorite cartoon character growing up? Oh my god, see there's
a reason why you didn't. You didn't give us these
(44:17):
ahead of time for a reason. Only one, only one, okay, Maleficent.
I love I love villains so much. I love that
for you, I see she was. She was the O
G for me. I see you in that role. Wow,
what does self care look like for you? Skincare? I
(44:41):
love skincare, and there's something and it's not even like
it's not vain there. It's ritualistic. I think that's what
it is. Self care for me is about ritual because
it really can be anything, but it's the act of
ritual that really enriches the spirit. So whether your self
(45:03):
care is making tea or for some people's self care
is like shaving their whole body, like that's that's a ritual,
getting in the shower, scrubbing down, shaving their whole body.
For me, it's the ritual of opening my little jars
and putting the little dropper in my hand and you know,
rubbing the you know, spending time massaging my face, doing
(45:25):
my little guasha, breathing like it's meditative. So yeah, that's
that's my version of self care. I love that. I
feel like I'm in a spa right now. Listen when
you speak about your face regimen, I hit you with
a voiceover voice. What reminds you of home or makes
you feel at home? That's a really good question. Um,
(45:48):
I feel like This is probably what a lot of
Latin A people say. But food, yes, yeah, I know,
it's I think connects you. Nothing connects you to home
quite like food. So like, so if we're going to
narrow it down, what kind of what is the dish? Okay,
(46:12):
I think my favorite dish is different than the dish
that connects me to home. So the dish that connects
me to home is got like like my grandmother, Oh
my god, I just got like I just got all
the fields. That probably is what connects me to home
the most. But whenever, like I'm here in the city
(46:35):
and I want to feel a little bit of like
you know, of of my childhood and my home and
my family, I'll usually just order like a plate of
some like oh you know what, Really what really gives
me is um not everybody body like really funks with
guenel the way I do love like I love and
(46:59):
then like us like regular as like the pepper steak
that you get yes, you know yes, or if I'm
feeling a real fancy, I will never say no to
some fungo of course, how could you do? You know what?
I never had mango until I'm moved here, really and
(47:20):
oh oh, y'all around to something. I can show you
to the sausage, the sausage and the cheese. Yes, all
of that, all of the honey food, food, food. We
got it. That's it. That's the way. That's hard. That's it. Salia,
thank you so much for being on Morrida. Thank you
(47:42):
for sharing your story. Thank you for being vulnerable and
opening yourself and and sharing your secrets of your artistry
and how you are pushing and winning. And it's a
beautiful sight. And I'm grateful to be a friend of
yours and watch the journey. Blessed said I am. I
am so thankful to have friends like you, especially after Latina,
(48:06):
friends like you who are showing up for the community
and teaching the people and really encouraging everybody to engage
and listen and learn and love. I love you, girl,
I'll let you girl. Thank you for coming. Thank for
I can't wait to get some food with you. That's it. Yes,
by my love, Thank you so much. Thank you. Mona
(48:31):
Nita is a production of Sonato and partnership with I
Heart Radios Michael Uda podcast Network. For more podcasts from
I Heart Radio, visit the I Heart Radio app Apple
podcast or wherever you listen to your favorite shows.
Or yah me hinted. I just want to give you
a heads up. The program you are about to hear
may have some explicit language, it may not. It also
depends on where the vibes and the spirit leads us.
Hope you enjoy. Welcome to more Anita, a deep dive
into the Latin X experience. With more Anita, we want
(00:22):
to create a community and a shared space with you
while sharing knowledge and inspiration. This show is about celebrating
our culture with guests who exemplify the best of us.
I'm Darrylene Gastillo, Ethane Viatle or you'll be hinted. Today
we have the Thalia theas Field. Salia is a Haitian
(00:45):
Puerto Rican actor and coach, and if you've owned a television,
you've probably seen her on. She holds an extensive resume
and has been seen on shows such as FBI, Succession,
In Trolls, Topia, Deep, and so so so many more.
(01:06):
Not only is Salia killing the TV film game, she
is a stage actress as well. She has just finished
starring in a play called Windfall, directed by the Jason
Alexander That's right, George from Seinfeld at the Bay Street
Theater Baliyah is a force and she is unapologetically authentically herself,
(01:27):
which explains why we here at Monanota are obsessed with
her and trust me, you will be too. Balia and
I dive into her journey into the arts. She shares
how her parents have always had a love for the
arts and music and how that love was passed down
to her. Also how an unexpected casting moment changed her
(01:49):
life forever. Oh and warning lion, tigers and bears, Oh
my had a hand in this. It's a good one,
So stay tapped. In Baliah's journey to the stage and
screen involves so much more than her artistry. We unpack
how her cultural experiences have lended a hand throughout her
journey in finding herself. So, me, being domin again, I
(02:13):
had to ask Thaliah about her roots. I was curious
if she had ever experienced any identity struggles within her
patient culture. Now, if you share Caribbean roots, you might
understand what I'm talking about, and if you're Dominican, you
especially know what I'm referring to patients versus Dominicans. So
(02:35):
now this might get controversial, but a little controversy can
bring out some great insight and some deep thoughts. Baliyah
and I we dive right in on this topic. We
don't hold anything back. We definitely don't shy away from it,
and I don't want to spoil it for you. Just
so you know, no sugarcoating, and a reminder to you
all that we are speaking from our own personal experiences
(02:58):
and here we are sharing if you Salia, welcome to
Morenita like typical New Yorkers what yes? So okay, So
(03:20):
first off, just so the listeners are aware, you and
I have known each other for a very long time. Darylyn,
it's been like over a decade. Wow. I met you
when I was I was like fresh, I was like
just starting. I was like you were a little baby street.
What's this you came through like I'm just baby, and
(03:45):
Dalia was like, okay, girl, let me tell you what's popping.
I mean that was ten years ago, but I was like,
I definitely was already approaching my pp face. So you
were like, I took took us all under your wing. Yeah.
At that time, we did a show called Marie Christine
Yes years ago in like I don't even remember where.
(04:09):
It was, like by the World Trade Center. It was
like some random theater. Yeah, it was like a where
it was a Columbia University production and we did it.
We did it in a warehouse type of situation, right,
Like it was a studio warehouse performance space down in
the financial district. So weird, but it was fun. I
(04:29):
made a lot of friends. I mean, we made a
lot of friends that I think. I mean, I still
talk to you to this day, which is rare in
this industry. Um. But let's back back it up, back
it up, back it up a little bit about you.
How did you catch the bug? So, if I'm gonna
be honest, I got to give you, like the childhood
(04:51):
te um. I kind of fell into this by accident.
My mom was a working mom. My dad is a photographer,
so he worked from home, and so summertimes I was
a camp kid. They just needed to get me out
of the house. Um. And so I I had done
every camp you could think of, like science camp, art camp,
(05:14):
like every sport camp. And once somewhere my mom was like, Okay,
we're gonna try a theater camp. And I was like,
all right, so I go, and you know, we have
our little auditions on like the first day, we're doing
the whiz and I really wanted to be the lion
because I love to entertain. I wanted to be the
(05:35):
fun one. I wanted to be the one when the best,
most outrageous costume. So I got up there with my
little this is gonna age me. I got out there
with my little Walkman tape cassette with the headphones, I
had the I had the music in my ears, and
I say, Vanessa Williams saved the best for last. Yes,
(06:00):
I clearly knew nothing about singing for the role that
you we wanted to audition for. I said, I'm going
to sing the song that I like, and you like
it exactly. So then the castlest goes up. Like the
next day, Mom picks me up from camp and I'm
I'm just bawling, and she thinks that like I didn't
get a part, or like, you know, I wasn't happy,
(06:24):
like I was in the ensemble or something, and she goes, oh, well,
you know, like what part did you get? And I said,
I got Dorothy Darylyn. I was so mad. I was like,
damn in my little like fourth grade head, I was
like that hou was boring funck this bitch, like who
(06:45):
wants to play Dorothy, I want to with the fur.
Where's the fur? Already? In like the fourth grade, I
knew you need to dress me in fur, baby, like
I don't want to like checker dress. So I was mad. Um.
Then cut to the next when we started rehearsals, and
I realized that everything was about me and here we are.
(07:08):
That is how we got here. Rylyn, you could thank
my mother for putting via theater camp because it was
all downhill from there. So from there that was it.
You caught it. You were like, this is it? And
you grew up where uh in Connecticut. My whole family
is from the city. I've spent a lot of time
in the city. I split time between Connecticut and the city.
But technically I was raised and went to school in Connecticut.
(07:29):
Um so yeah, but my parents really made sure to
instill the arts, um and to me make it a
huge part of my life. Like I said, my father
is a photographer. Um. You know, we grew up with
pretty modest like lower middle upper middle class. In between
their um household. We lived in like a little two
(07:51):
bedroom condo in a small town in Connecticut until I
was thirteen. And our house, you know, we didn't have
a lot of money, but my parents spent their money
on art. So we had this little condo with fabulous
art on the walls. And like my parents, every Sunday
it was no TV. In the morning, Mom would make
(08:14):
brunch and we would play music and it was classical
music and jazz and so um. I was one of
those kids that tried everything, like I'm a do gymnastics,
I'm gonna play piano, I'm gonna do But always art
was a part of my life, so um and going
to the city was a big part of that too.
So I think we've spoken about that a bunch of
(08:35):
times where we both have these similarities of being having
the exposure of being in the city and being able
to see our people and people that look like us.
And then for me going to Rockland County, you know,
being the only Dominican, the only brown Latina in the room.
You know, that gave me insight. I'm like, oh, there's
(08:55):
more out there in the world, and I tell people
I'm for Latina. My my father is from Haitie, my
mom's Puerto Rican. Um. So, I don't really identify with
the whole like mixed kid conundrum because even though I
grew up in a predominantly white town. Um, I was
so surrounded by both of my cultures, uh that I
(09:17):
was never lacking or wanting for that um And as
a little kid with a big gass mouth, I made
sure everybody in that white town knew who I was,
you know, like there was no question, Like I was
the multi culty, black and Latina kid, and everybody knew it,
and I didn't shy away from it. And I think
(09:39):
that that's a credit to my parents because of the
food we ate and the music we played, and you know,
them getting me out of town and bringing me into
the city, so I was able to bring that into
my suburban experience. I'm always like, how did you do that? Like,
I hope whenever I have kids, I hope that I'm
able to instill that in my children. It's something that
(10:00):
think about constantly because I'm like, I don't have like
the formula that my parents instilled that confidence or like
that that knowing of who I am, that knowing of
being of who I am. And I'm always like, how
did you all do that? Yeah? Of course, like the
music and all of that, But like I remember being
challenged as a younger kid in these white neighborhoods, and
(10:22):
you know, obviously having that same energy of like I'm Dominican,
you don't know what it is, google it like by
like go get a book. I can't help you. Right,
there was no question. There was no question, and I
didn't I didn't shy away from it at all. Um.
And as a matter of fact, I even have like
some memories of like being a kid and finding ways
(10:45):
to like incorporate my Latina and like my my Afro
Central roots in like in my school work. When it
was time to do a biography or something like write
a biography or do a project. I was always seeking out, um,
you know, inspiration from. I think I did a biography
on Sammy Davis Jr. And another one I wrote a
(11:07):
biography I think in the fourth grade on like Celia Cruz,
and then I wrote one on on Jim Henson because
obviously muppets. But my influences were from so many, so
many places. Like I was such a nerd. I was
so obsessed with comic books and muppets and like animation. Um.
(11:31):
But then you know, we would dance outs in the
living room, Like don't ask me to dance out so
though I'm a terrible partner. Agree, Is it because you
only like to lead? Is that the problem? I only
can lead? So I think the reason why I can't
dance with a partner is because and you know this,
Oh my god. We talked about this at the last
(11:53):
dance callback that we had together. We were in a
dance callback together a few months ago, and I would panicking.
I had never been in a dance callback where they
made you partner for in the heights. Remember, I was panicking.
And I think the reason why I'm a terrible partner
is because I didn't have a sibling until I was thirteen.
(12:14):
My brother wasn't born until I was thirteen, and all
my cousins lived in New York and none of them
really danced either, Like, none of my cousins really danced.
The only people who like really dance were like the
Thea's and like the older cousins, like my mom's cousins.
So like they would kind of like grew with me.
We would go to Jones Beach and like they would
pull up the drums and everything, but like I didn't
(12:36):
have anybody to actually partner with. And then I would
go home to Connecticut. And like, there wasn't anybody in
Rocky Hill, Connecticut that I was partnering with. So I
would just dance by myself. That's all I know. And
so listen, give me, give me a beat, and like
I will spend myself, I will dip myself. I would
(12:56):
do all the tricks. But try to do that with
a part No, No, I can't. My problem is I
just don't like it when people lead me. I'm like,
let me lead, especially when it's a man and we dance,
and I'm like, I think at the audition, I mean,
my poor partner, he didn't know what he was doing. Bless.
You want to remember your name, but Bless. And then Luise,
which we've had on the show here before. Luis Um
(13:19):
he came a dance with me and partnered with me
for a second. He's like, yo, let me lead, and
I'm like, no, listen while he tried. He danced with me,
and I was like, oh my god, thank god, because
I knew he was just gonna move me around like
a rag doll. That was like this yes and then
and I oh, he made me feel like a lady.
(13:42):
I was. I was like, I didn't have to do
anything I was like, yes, move me around, spind me around.
I walked out of that dance audition feeling like I
was like, oh, I just killed it, very very damn
well that I probably didn't just kill kill it. Luise
just threw me around like a rag doll and may
me look good. Shout out to Luisa got the first
(14:02):
throwing us all around like rag dolls. But also making
this feel so special. He's incredible, such a great I mean,
that was my first time ever seeing him in action
and like dancing in action, and I was like, okay,
I get it, I see it. I feel its energy.
Energy was so good. And also like how many times
have you ever been in a dance call where we've
(14:25):
gotten to do that as a community. Also like that
was that was I've been to a few in the
Heights calls and I've never been to one like that.
In the Heights auditions UM are always going to feel
different than any other audition, even even as somebody who's
multi culty, Like even when I go to UM an
audition for like a predominantly black show, it's different, and
(14:48):
all the final show it's like going to the club,
yes you know, and and it's like the waiting room
is like everybody knows everybody. They're speaking Spanish like and
you know, me like, I don't even speak Spanish like that,
but I'm like, like, you know, getting in on the conversations.
But that one, you're right, that one in particular, And
(15:12):
I don't know if it's because it was coming off
of the pandemic. I mean, I know that had to
be part of it, but you know, for those who
weren't in the room, Luise started the dance call back
with all of us in a circle and just really
focusing our energies and connecting, and it was so special,
(15:33):
and it was really just a testament to how Latin
culture is really about community and the way in which
that when we got that dance call started, the way
in which everybody was helping each other. I had never
been in a call where you could feel everybody rooting
(15:54):
for you. There was no competition. Everybody just wanted every
body to feel look and do good and so like
I could have fallen flat on my face. I didn't, though, right,
but I could have fallen flat on my face and
I still would have walked out of that room being
like this was the best call I've ever had, because
(16:16):
the energy was just right. It was and it actually
was for me my first time ever going in for
in the Heights. Something that i want to touch face
(16:38):
with you on because I'm just curious, especially being Dominican,
but I'm curious for you your connection with your Haitian roots.
I have just never understood the disconnect. I have always
viewed it as a family. It's the same island, but
there is like this deep rooted, obviously historical hatred, um.
(17:02):
I think also from it could be from both ends,
And I'm so fascinated to hear your experience of being
patients to me are like I don't see them as
far as off Latinos as I mean, I I don't
understand that. So I'm so curious for you how you've
dealt with that growing up. I'm not Haitian, but I've
(17:24):
heard so much about it within my culture and within
the Caribbean culture, and I'm just so curious what that
experience was like for you, being both Latina and Haitian.
That's an incredible question. Um. I will say, you know,
to a certain extent, Uh, naturally, I am a little
bit biased, So before I even get into that, I
will acknowledge that. Um, but I am a person and
(17:46):
I think you know me to be a person who
really tries to be diplomatic and see both sides. That
being said, that wasn't something that I really dealt with
until adulthood. UM. Mostly because where I grew up there
were more Puerto Ricans than Dominicans in Connecticut, and I
(18:07):
just wasn't aware of that history until I got older. Um.
I became aware of it when I got older, but
still it never really affected me until I moved here
to this neighborhood. I live in Hamilton Heights, just below
Washington Heights. There is a rich Dominican community here as
(18:29):
well as others. There are actually there's a Haitian church
right down the street from my apartment. Um, so there's
a mixture, but it's it's mostly Dominican. And UM. I
remember a long time ago, I was working in a
little restaurant down the street, like on one and these
two adorable little yahita's come in like they were they
(18:51):
were best friends. These two panas come in and they
order their little service gas and they're sitting by the window,
and they were adorable. And then they start talking to me,
and you know, I'm answering in my like spanglish, but
basically they're saying to me like, oh my god, you're
so beautiful midas holes. And for those who don't who
can't see me or don't know me, I have blue
(19:12):
eyes and beautiful of you know, people think they're cool,
but they're going on on, oh my god, oh my god,
what are you? And I answer and I'm like my
mother's Puerto Rican my datation, and immediately their faces, I know,
(19:34):
I beah, no know, and the reaction was like, you
can't possibly look like this and your Haitian. That was
the first time I had ever experienced that, and then
I think that opened up the door for me noticing
(19:54):
microaggressions here in my neighborhood, you know, going out to
a bar into some guy and being like damn, he's like, oh,
where are you from? What's your background? And you know,
and I'll be like Puerto Rican a Haitian. He's like, oh,
you Haitian. So it's something that's still kind of new
to me, and my thoughts around it are that, you know,
(20:17):
it's a form of colorism. It's a form of racism,
and just like any other racism, it does it starts
in the family. I know most of my Dominican friends
do not share that sentiment. Um. I think it's an
old school, uh antiquated point of view as well. And
(20:39):
because of that, I think that's why it's it has
to be ingrained in family to carry on. UM. So
I think younger generations are letting go of that sentiment. UM.
It also is just prevalent on the island. I think
people here who still have that mentality are people who
(21:00):
emigrated from island, because even I have like younger cousins,
and the mentality it has stuck because they have come
from the island. This is where my bias may come in.
But I think it really comes from a lack of
understanding about the history. Um. There is a lot of
(21:21):
confusion about who took over who, who kicked who out,
who did this and that, And we're talking about hundreds
of years ago, right. Um. The fact of the matter
is we're on the same island. And you mentioned that,
you know, you don't think that Haitians are that far
off from Latinos, Well they're not. I mean, we're on
the same island and there are there are so many
(21:45):
Haitian Dominicans who acknowledge their Latin ead Um. And there
are so many Haitians who may not have direct Dominican
blood who still consider themselves Latino or Latina in a
certain aspect because we're on the same land. And you know,
(22:07):
we could go on and on about the actual history
that that's misinterpreted and missing understood. But basically, um, what
it boils down to is and and this is the
same thing for colorism in the African American community. What
it boils down to is the perpetrator is the colonizers,
(22:28):
and the colonizers were the Spaniards. And you know, if
we want to talk about who did what to who,
that's what it boils down to. But because Haitians and
Dominicans are the ones who are now on the island,
they are the ones who are blaming each other. Does
that make sense? It just gets passed on and passed on.
(22:51):
And um, I think any people who are going through
a struggle or living in adversity or underprivileged or you know,
there's going to be animosity and there's gonna be um
a want and a need to point a finger at
(23:14):
a cause. And I think that's a lot of what's happening, um.
But basically it's about misunderstanding. It's about not really understanding
um our own history and not being able to let go. UM.
You know, I think there is a lot to be
said for generational trauma and um, you know, especially when
(23:39):
it comes to black community, African American community, and the
way in which we still struggle with and hold onto
the trauma of our slave ancestors. I think that that
can also be applied to a certain extent, But there
also has to be the personal responsibility of saying, I
(23:59):
acknowledg edge this trauma. I acknowledge and honor the experience
of my ancestors, but I am me, I am Talia
Gtti that these field in two and this is the
trauma I need to learn to let go. These are
the ingrained things that have been taught to me that
I need to let go. We need to take personal
(24:22):
responsibility for changing the narrative. Absolutely, I think that was
beautifully said and beautifully answered. Um. And just the curiosity
going further into this question you mentioned you've dealt with
it more, you know, moving into Hamilton Heights and seeing
it more in that area and that energy, is it
ever something that you've ever confronted your family with and
(24:43):
kind of like talked with them about because it was
something you've never experienced when you were younger. You know
what's funny. Um, I think part of the reason I
was such a strong willed, opinionated kid and person for
a very long time. Those who know me know I've
(25:03):
chilled out a lot um, but I used to, you know,
I was o g facebook like like going off on people. Um.
I think the reason why I grew up like that
is because when I faced any kind of racism as
a child, and again, it wasn't something I came up
(25:24):
against often. But you know, the first time somebody called
me the N word on the playground, I kicked him
in the balls, Like I was like what, Like I
didn't you know, I didn't have it. And I think
that's partly because my father, Um, he didn't acknowledge racism.
He's like, I don't care what you say, Like you
(25:47):
can call me, you can call me the N word,
you can call me whatever you want. But like I'm
not that so by, you know, And that's kind of
what he put in me. So like I've never really
in one whenever somebody's come at me with racism. For
the most part, it doesn't bother me. I just laugh
(26:09):
at it because I'm like, okay, like what does that mean?
Even tell me something I haven't heard, right, Like you know,
like once, I remember one time when I was living
in l A. And then this was like, um, during
Obama's first run for president, there was like some woman
she happened to be black in a ross and something happened.
(26:32):
The cashier happened to be Asian, and she went off
on the Asian woman, and I was like, yo, sis,
like continent, We're not doing that, not this, not when
we're about to have a black president. Don't Because she
was calling her like racist names. I was like, Sis,
don't do that. And she turned to me and she
called me a half breathe and I looked her in
the face. I laughed so hard, and I think my
(26:56):
my response was like, well, you're about to have a
half breed president's so have a good day, like I did.
Like I just was so unbothered. But I was like,
what does that even? Yes, I mean, if we're gonna
get technical, I mean, yeah, I'm a half breed. It's
a shitty name for it, but like, yeah, Okay, So,
(27:16):
like all this is to say that when I've noticed
stuff like this. Um. First of all, like I said,
I didn't start noticing um, this kind of animosity towards
the Haitian community until I was an adult, until I
lived here, and I think I I already had been
able to like process things differently. UM. So I never
(27:38):
really went to my parents about it. I never really
talked about it. I think I kind of was just like,
that's stupid because that was the energy that you were
receiving from home. To was like, wh I talk, what's
the point, what's the point? It never made sense to
be like that animosity never made sense to me because
I'm like, yo, we're on the same island. Also listen
(28:02):
again here comes to bias. Also, what the funk are
y'all complained about? We're the one with the hurricanes and
the earthquakes. You're chilling, like, tell me how we're on
the same island and Haiti is getting all the natural
disasters and you're just like, uh, like salsa the beach.
You know. I never understood it. I never understood it,
(28:24):
and I never ingested it. I never I never I
never let it. It's just never really affected me because
I just thought it was so fucking stupid. I love that.
I love that answer. And I honestly, nobody I know
of any worth to me who's Dominican has any inkling
(28:45):
of that mindset, that sentiment, and so like, you know
my business, right, You're like, I'll just take half of it.
It's fine, whatever. And so that's how people. I'm have
Puerto Rican and have Haitian. So as far as I'm concerned,
that makes me like honorary Dominican. I mean, you've always
(29:07):
been invited to the cookout on mine. Like if you
put if you put a Puerto Rican and a Haitian together,
doesn't wouldn't that make a Dominican. I'm just saying. I mean,
I don't know. The audience might have to weigh in
on that one. Some Dominicans would be like, now you
don't know, be honest, be honest. You listen, you you
you've already been famed for a decade for me. So
you've already been been at a cookout on my end.
(29:29):
So I already hard. I'm gonna piste off all your
audience members. But news flash, the many Donalds you're black, Oh,
they know that this is this is like what they've
been hearing that from you. You're black, so black and
Puerto Rican, Puerto Rican and Haitian. It makes a Dominican.
That's how you make a Dominican. That's how we mix
(29:52):
it up. That's how we mix it up. Um. I
want to revert back to you because I just think
because it's all about me that swing it on back
to Dorothy. It's all about Dorothy. Um. It's just it's
hearing you speak about where you come from and who
you are and your beliefs and how strong you are
(30:15):
in that it I've already known all that about you obviously,
but I think it also like helps our listeners understand
the kind of artists that you are and the person
that you are, which is really important I think now
more than ever, Um, and the work that you do.
And I'm curious how your experiences have bled into your
(30:36):
art and how that's maybe who you are and the
work that you're doing now and the work that you're
focused on doing now as an Afro Latina, because I
know it's evolved for me personally from the person that
you met and Marie Christine, I'm not that same person anymore. Right,
we don't take the same jobs. We ain't out here
saying yes, yes, yes, yes, no none of that. We
(30:57):
ain't doing that no more. Yeah. So you know, I'm
also a coach, UM and I a lot of my
coaching work, UM is a result of the self awareness
I gained as an actor. In retrospect, looking back, I
(31:18):
think what I struggled the most with was authenticity. UM.
I think a lot of artists struggle with that. I
think that's one of these we're always in our heads,
you know, yeah, always in that in that mindset. Yeah.
And it was a real mind fuck growing up, getting
older and like I said, being confronted with my identity
(31:46):
as an adult and a young adult, because I had
never had that confusion um as a kid. So you know,
when I went into when I when I stepped into
the professional industry, UM, I really found myself trying to
fit in um and fit boxes, to be black enough,
(32:09):
to be Latin enough. Um. And I think you know,
over time, the lessons that my parents taught me about, uh,
not caring what people think, you know, being unapologetic about
(32:29):
who I am, being unapologetic about being Afro, Latina, Haitian
and Puerto rican. Um. You know, I think it took
a long time. It took a lot of trial and error,
but I think that is what really shaped and changed
my work as an artist because I would say, you know,
(32:51):
it's been pretty recent recent, being somewhere between the last
like five to seven years, that I really feel like
I'm bringing myself to my work, um, you know, and
and and my experiences, UM finding ways I just did
(33:12):
before the pandemic, I did Into the Woods and I
played the Witch, and it was the first time that
I could really incorporate my experience, my individual experience as
a black woman, UM to the role. Uh. And I
think I think that was self awareness. I think that's
(33:35):
just growth maturity. UM. But yeah, I I do find myself, um,
bringing a more authentic version of myself that doesn't feel
like I'm trying to be someone else's perception of what
(33:59):
my call there should be. And that also applies to
being a woman. You know, I I am my own woman.
I am not being a woman of color is not
a monolith um and really embracing that, and most recently
as a coach, I've really taken that and made that
the cornerstone of my work as a coach. Um, I'm
(34:23):
really proud of the fact that a lot of my
clients UM come back to me because they feel seen
as people of color, as people on the lgbt Q.
I a plus spectrum UM because I I I really
(34:45):
just have a passion for making people feel safe and
comfortable in bringing themselves into their art. Um. It feels
like you know what it feels like, Darylyn. It feels
like something so inherent and natural that was just chilling
(35:06):
and like lying dormant in me for years And I don't,
to be honest, I don't know what it was that
unlocked it. But sometime around like five to seven years ago,
something broke open and I was like, fuck this ship,
Like this breakdown says this. I got a version of this.
(35:29):
I don't know if it's what they want, but this
is what they're gonna get. And being okay with that
and releasing any judgment with that. I think when I
learned to do that as a person in life, then
I was able to do it as an artist. But
(35:51):
I think, yeah, in order to have the freedom that
we want as artists, you have to find that freedom
as a human being. You have to and the freedom
to let go of self judgment and judgment of others.
You need to learn how to adopt an attitude of gratitude, UM,
and be grateful for the things you have and not
(36:13):
focus on the things that you don't. Um. And that
I mean, I think growing up as a woman of color,
that that was a journey for me, you know, looking
at other people playing the comparison game, wondering why these
people had something and I didn't, wondering, you know, why
I wasn't black enough, or why I wasn't Latin enough,
(36:33):
or you know, once I let go of all that
and said, that's not my concern. My concern is being
a bomb mass human being, being good to people, leaving
whatever little mark on this tiny little speck of a
planet that I can and that's it. And applying that
(36:58):
to everything that I do and my work and trying
to impart that on other people as an educator and
a coach. And you're doing it. I'm a witness of it.
You're doing it. And UM, I mean, as I mentioned
in the intro for Dalia, like, I mean, I can't
even count on my hands and number of TV shows
you might have seen her face on it and the
(37:18):
incredible work that she does on the stage. UM, I
know that you mentioned that Into the Woods was a
was a changing moment for you? Is there something else
that really stood out where like it felt like you
were a new person after that experience, Like what was that?
What was that? Five seven year what was that moment
for you? I would say right after that, that was
like the what cracked the door open? And the next
(37:41):
show I did about a month later, and it was
my last show before the pandemic was In the Heights
and I played Daniela. And never before have I ever
felt so connected to a role, like you know, a
special because when In the Heights came out, I was
(38:02):
a little bit younger, um, and I was, yeah, I
was going out for like Nina and Vanessa, even though
I kept telling them I can dance, um, but I
kept you know, I had aged into Daniela. And I
was like, oh my god, this is why I haven't
booked this show yet, Like this is me like all
(38:27):
day every day. And again it was my version of Daniela.
Like anybody who saw that show and I'm pat myself
on the back of this ship. You couldn't tell me
that wasn't unequivocally me in that role, Like I gave
(38:48):
all of my spirit to that and I had so
much pride and being Afro Latina in that show. Um,
and that really yeah, that was a show where I
really was like, I'm doing what I want to do.
And the pandemic happened and unfortunately, you know, things shut
down for a bit and I wasn't really able to
(39:11):
parlay that into another show for until this summer and
I just finished up a show at Bay Street Theater
in the Hampton's. UM. I did a show called Windfall,
directed by Jason Alexander. First of all, I just got
to say that Jason Alexander is a cham of a
human being, and UM, we had some really deep discussions
(39:36):
about my identity. Um. You know, there was a moment
in directing me that um, you know, he was trying
to get me to go in a different direction. And uh,
there were moments where he was he was telling me,
don't make her quite so aggressive. And I had to
sit him down and we had a conversation about what
(39:58):
the direction it's too aggressive me means to a black woman,
to a Latin a woman, what it means for me
to negotiate that and um, you know, reinterpreting what his
direction was in a way that didn't feel triggering, and
and and um was more productive for me. So that
(40:22):
was a pretty cool um learning experience. That was really
the first time that I was able to safely I
wouldn't say the first time because it happened with with
Into the Woods. That was the starting moment. But I
feel so much more confident and able to have those
kinds of conversations about my identity and how it relates
(40:46):
to the circumstances of the work and the character, and
how to effortlessly maybe not effort effortlessly because it is
not always Yeah, thoughtfully art is not art is not
always effortless, but thoughtfully consciously, UM, blend the two so
(41:06):
that I am honoring my experience and myself and and
and what I bring to this role as well as
the writer's vision the director's vision. And that's the battle.
That's always the battle. I understand exactly what you're saying.
That's that's most of the battle, because it's like, how
do you not walk in there and you're not like
fuck you? Or then the other end of it, then
(41:31):
you're quiet, and then you're feeling like you're dying inside
and you're like, I hate coming to work every day.
So finding that, honestly, honestly that comes with age. Because
I'm gonna tell you, what do I want to tell
I'm not gonna say my I'm usually not one who's like,
but it's a podcast, so like it's forever, so I
(41:51):
might I don't want to change my mind. So I
am anyways moving on. I mean retinal and hyaluronic as
it um. But I would say I am a woman
of a certain age. And when I turned this certain
age recently, I really said fuck it um. And and
(42:12):
I woke up the morning on my birthday. I had
been kicking and screaming on the way to my birthday
and I woke up on my birthday and I was like,
oh my god, none of this matters, Like so much
doesn't matter, so much is not worth my energy. And
(42:32):
you know that really changed my work, like aging and
self awareness, and my god, how that will change your work.
The way I auditioned now, Darylyn, I don't. I'm like,
bamboom boom, let's do this. Two takes tops done, like
(42:54):
three hours doing this? No who got the time to him?
And Hall over stuff and and perfect I don't give
a damn about perfection. I give a damn about like
punch him in the punch him in the face with
some talent, boom boom, tell a story like do good work,
but like if I flob a line, or if a
(43:14):
hair is out of place, or all the stupid ship
that we used to worry about. If you know, I
don't care who who else is in the room, or
who else has been, who has been invited to submititate.
I don't care who else they're looking at. Like it's
about me, don't y'all know, Like that's how I approach
it now. It's like I don't give a damn. This
(43:36):
is about me. This is my experience, this is how
I want to live my life. Like out of here, Darlia,
(43:57):
we have reached the moment that we've all been with
for the moment of the questions. Questions, questions, question questions, questions. Okay,
favorite cartoon character growing up? Oh my god, see there's
a reason why you didn't. You didn't give us these
(44:17):
ahead of time for a reason. Only one, only one, okay, Maleficent.
I love I love villains so much. I love that
for you, I see she was. She was the O
G for me. I see you in that role. Wow,
what does self care look like for you? Skincare? I
(44:41):
love skincare, and there's something and it's not even like
it's not vain there. It's ritualistic. I think that's what
it is. Self care for me is about ritual because
it really can be anything, but it's the act of
ritual that really enriches the spirit. So whether your self
(45:03):
care is making tea or for some people's self care
is like shaving their whole body, like that's that's a ritual,
getting in the shower, scrubbing down, shaving their whole body.
For me, it's the ritual of opening my little jars
and putting the little dropper in my hand and you know,
rubbing the you know, spending time massaging my face, doing
(45:25):
my little guasha, breathing like it's meditative. So yeah, that's
that's my version of self care. I love that. I
feel like I'm in a spa right now. Listen when
you speak about your face regimen, I hit you with
a voiceover voice. What reminds you of home or makes
you feel at home? That's a really good question. Um,
(45:48):
I feel like This is probably what a lot of
Latin A people say. But food, yes, yeah, I know,
it's I think connects you. Nothing connects you to home
quite like food. So like, so if we're going to
narrow it down, what kind of what is the dish? Okay,
(46:12):
I think my favorite dish is different than the dish
that connects me to home. So the dish that connects
me to home is got like like my grandmother, Oh
my god, I just got like I just got all
the fields. That probably is what connects me to home
the most. But whenever, like I'm here in the city
(46:35):
and I want to feel a little bit of like
you know, of of my childhood and my home and
my family, I'll usually just order like a plate of
some like oh you know what, Really what really gives
me is um not everybody body like really funks with
guenel the way I do love like I love and
(46:59):
then like us like regular as like the pepper steak
that you get yes, you know yes, or if I'm
feeling a real fancy, I will never say no to
some fungo of course, how could you do? You know what?
I never had mango until I'm moved here, really and
(47:20):
oh oh, y'all around to something. I can show you
to the sausage, the sausage and the cheese. Yes, all
of that, all of the honey food, food, food. We
got it. That's it. That's the way. That's hard. That's it. Salia,
thank you so much for being on Morrida. Thank you
(47:42):
for sharing your story. Thank you for being vulnerable and
opening yourself and and sharing your secrets of your artistry
and how you are pushing and winning. And it's a
beautiful sight. And I'm grateful to be a friend of
yours and watch the journey. Blessed said I am. I
am so thankful to have friends like you, especially after Latina,
(48:06):
friends like you who are showing up for the community
and teaching the people and really encouraging everybody to engage
and listen and learn and love. I love you, girl,
I'll let you girl. Thank you for coming. Thank for
I can't wait to get some food with you. That's it. Yes,
by my love, Thank you so much. Thank you. Mona
(48:31):
Nita is a production of Sonato and partnership with I
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