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It has a dramatic problem: Sondheim's exploration of the nature of love and friendship among two songwriters and their female critic friend begins in their jaded present and moves backward to their hopeful and idealistic beginnings.

They are introduced as unsympathetic at best, beastly at worst. But this story has another message, which is not 'How did they get here? The choices you make today will affect you 20 years from now. The compromises you make now will change you.

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So be very careful. And the show says, 'Make the good choices. And for a minute he seems to be talking to himself. Now he's all grown up, starring in Cabaret and holding the theater world in the palm of his hand. Who could have known, all those years ago, that the music of a homeland he has never seen would stoke the creative fire that has taken him all the way to Broadway stardom? But there's also a kind of numbness. I keep waiting for the other shoe to drop. Among those good things: But Esparza is also aware of how fortunate he is.

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Esparza has, mainly through years of hard work honing a talent that has now won him a place at the center of America's theater universe. And those who know about such things are sure he's the real deal. It's hard to define star quality, but you know it when you see it. But like any ''overnight'' success, he's been working toward this moment for years.

He made his professional debut 13 years ago, just out of high school, in the world premiere of Luis Santeiro's Mixed Blessings at Miami's Coconut Grove Playhouse. The only child of Cuban exiles, Esparza was born in Wilmington, Del. His mother, now a Miami travel agent, concedes her son got lots of attention but says it didn't ruin him.

Because he has been brought up with love and not a lot of grief, he's always had a tender nature. There's not a mean streak in him. He emanates an energy, a love of learning. He can direct, write, sing, act. He's wonderfully fluent in both Spanish and English, and he has a tremendous understanding of both cultures.

Esparza founded a club called ALPHA -- the letters signify acting, literature, photography, history and art -- and under its auspices did numerous plays. His leadership won him the Silver Knight Award in drama, and he and a fellow student took national honors in the Catholic Forensic League competition for their scene from the play Amadeus. He didn't do as well with the National Foundation for Advancement in the Arts competition, where one judge suggested he didn't have a future as an actor.

You have to listen to yourself. From there he moved to Chicago, where he built a reputation at the city's top-tier theaters, acting in such high-visibility productions as Slaughterhouse-Five at Steppenwolf and Cry, the Beloved Country at the Goodman. Things were going so well, in fact, Esparza and his wife Michele, his high school sweetheart, imagined building a life in Chicago -- despite the fact that Esparza found his ethnicity perceived differently there.

The parts that movie and TV people want to see me for are Latin things.

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Then I get there and they don't think I'm Latin enough. Yet it was a major Hispanic role in theater that eventually led him to move to New York -- and to Broadway. He won the role of Che Guevara in a major touring revival of Evita, and though his decision to play the revolutionary didn't thrill his exile family his paternal grandfather had known Guevara in Cuba , the raves he won as he traveled the country in did. The show didn't play South Florida, so his family and his former teacher traveled to the Fox Theatre in Atlanta to see him. He was conniving, fiery, passionate, intense, very dark.

I want my grandson back. Harold Prince, the original director of Evita, saw Esparza's portrayal at a run-through and a performance and agrees that he's destined for big things. He's smart and quick and funny,'' observes Prince. He's got star personality. He left that show to create the part of Jonathan in Tick, Tick I could smell the burning. But I met people from all walks of life who said Tick, Tick After the disaster, Assassins which contains lyrics about a character wanting to fly a plane into the White House was scrubbed.

So the Roundabout's Haimes shuttled Esparza into Cabaret, where he has become the show's most dynamic Emcee since the Tony-winning Cumming, giving a performance that is one part Marlene Dietrich, another part unhinged victim of evil. Eric Schaeffer, artistic director of the festival, cast Esparza in Sunday in the Park in the dual roles of artist Georges Seurat and a contemporary artist named George, roles originated on Broadway in by Mandy Patinkin. It's a huge part, but one Schaeffer says he knew right away that Esparza could handle. The contemporary George is the trickiest, and once again he captured the spirit, the frustration, the soul-searching.

Offstage, Esparza's life has been rougher since his move to New York. His wife decided to move back to Miami and her extended family rather than relocating to New York. She's the light of my life. We grew up together. Lived side by side. We're going through a process of getting to know each other again. Another loss has been more permanent.

It was her 93rd birthday, Dec. A few days later, the extended family gathered in Wilmington, Esparza's birthplace, to celebrate Christmas. I could die tomorrow a happy woman. She passed away Jan. And now every time he steps onstage, a part of her is with him. Christine Dolen is The Herald's theater critic. Esparza spent much of last week helping with the rescue effort, taking down the histories of victims from family members and acting as translator for rescue workers.

I was very careful onstage and thinking, Do this slowly — even though there were like 10 people in the audience. I can't even talk about it without getting emotional. A song we have been singing for months suddenly had an entire new meaning, called "Louder Than Words.

On Sunday I was exhausted, working till 8 in the morning back at Chelsea Piers, doing translating for some Mexican rescue workers. It felt like war. So when I did the show again, I was overemotional. I was frustrated at having to be there again. I looked out at the audience, at people who had come to see the show again, and they had tears in the eyes.

Something about them looking at me really moved me. I couldn't control how sad it made me. Although the show, a three-person adaptation of a one-man songologue, never puts itself in historical perspective, the audience certainly does. Larson's work, which explores the same themes as his international sensation Rent, is most poignant in what it doesn't say--that Larson didn't live to see audiences flock to see his work.

Playing a-character-that-isn't-Larson-but-really-is, Esparza is a marvel--baring a soul that audiences may have missed in his high-camp performance as Riff Raff last season in The Rocky Horror Show which earned him a Theatre World Award. Were you a Rent-head? Well, I saw the show years ago.

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I really loved it. It was incredibly moving and it really reminded me of my years going to school at NYU and living in the East Village. I felt like someone had read a journal of my own life. You went from the Rocky Horror cult crowds to a show that is attracting the Rent fan base…. And those groups cross over--these wonderful younger audiences that sort of hooked into the idea that theater could speak to them. What a great lesson.

How much did you know about Jonathan Larson before you got the part? Not very much at all. I did quite a lot of reading. But I have to strike a balance. But I watched footage of him. He shrugged his arms out a lot, had a big, goofy grin. He really seemed to gauge people. I tried to incorporate some of that. The script is so saturated in his spirit. I find myself grinning through most of the show. Even though times were tough, Jonathan was aware of how exciting his life was.

They would invite 50 or so people over to his small apartment for Christmas or something. They would invite people from the neighborhood even. He would sell his books at the Strand to be able to afford a movie. His father says that they had no idea how poor he was. Is it nice to show your face this time around? A lot of people had no idea who I was. Playing Riff Raff was so freeing.

It was like putting on a mask and having the chance to do whatever I wanted. This show is different. A lot of my own experiences. It can be very moving for me. Do you feel naked? Now when I leave the theater, everyone knows who I am. And sometimes I prefer it the other way.

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I admire actors who disappear into parts. Like DeNiro and Pacino in some of their earlier works. The skill is to remove yourself. As actors, we get to live different lives. How did you go from NYU to Chicago? I had this teacher named David Bucknam, who was a wonder kid—an amazing talent. Anyway, we became great friends and he was visiting a friend of ours at the Goodman.

He got me an audition, I got hired and wound up staying there for eight years. He was extremely successful at a young age, but turning 30 scared him--he killed himself at It was amazing to see the body of work of someone so young and stopped believing in himself. He set a date on his life. Starting acting like a grown-up.

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My parents told me: I gotta be honest, though. School was not great for me. Studying theater is so private and insular. I learned so much more when I was working in Chicago. But you have an incredible singing voice. Were you always aware of it? But I would play guitar and sing Spanish songs for my grandmother.

I was sixteen when I first heard a musical. We were doing it in my high school. Do you like listening to yourself? Have you heard the Rocky Horror cast recording? How does that guy do that? Every actor says that. Those are fun parts. I used to quote it in high school.

Saints and poets, maybe. I thought it was perfect that Jonathan knew that quote. Who are you closest with in real life out of all your fellow performers? I'm not very sociable at work, but I get along with everyone even though I mostly keep to myself. I suppose Daphne is my touchstone, as is Kristen. I also couldn't have done this without Lea's support. We're a very tight cast so everybody really counts to me. You are an amazing performer, how do you get into the part so well?

It's like putting on a mask. Riff doesn't look like me so I can do anything he wants. Are you aware that you are so awesome and rather funny? No and thank you. What's the best thing you've been given by a fan? A rose bush when one of my closest relatives died. It grew and lived and reminded me of everyone's support for my loss.

What was the funniest thing to happen on stage?

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Kristen's bra popping off during the whole "touch me" scene. If you could play any part in any Broadway show which one would it be? Is that really all you in that costume or do you use a stocking stuffer? What is your favorite audience participation shout out?

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Did you come up with the fabulous make-up? Some of it - the eye, the bruised mouth - Milagros, our make-up goddess, designed it with me. Jon Jordan designed the crazy hair. How do you recover your voice after such intensely taxing vocals, especially on 2 performance days? I drink A LOT of water. I live like a monk. It's not easy, but it works. If he proves he can still cut it in this realm, others will surely follow the three-time Oscar-winner back down the digital rabbit hole. On to another long-lost subgenre: Is it time for a renaissance?

Finally,only only one superhero flick looks like it will break new ground: With Deadpool and Logan emerged as two of the livelier comic book entries of the past few years, it seems that Fox is finally carving out a place for the X-Men at the more mature end of the superhero spectrum. If we have any hope that will mark the beginning of a new era in fantasy film-making, this could be a very welcome mutation indeed. Topics Science fiction and fantasy films Week in geek. Order by newest oldest recommendations. Show 25 25 50 All. Threads collapsed expanded unthreaded.