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ROOTLESS: La No-Nostalgia
Texts by Karina Casiano

New York:
April 2008, chashama at 42nd street
October 2008, Gerald W. Lynch Theater, CUNY John Jay College
May 2010, 7th Annual soloNOVA Arts Festival, P.S.122

Mexico City:
July 2010, Teatro Bar El Vicio and Foro A Poco No, 8vo Festival Int'l de Cabaret by Las Reinas Chulas



An ardent, insightful, bilingual cabaret with video and live piano covers of popular songs about the migration experience and the emotional life of migrants.

A confused immigrant
begins to forget her past, her accent and even her gender after years of living away from her country. The foreigner contemplates her dilemma through music, sharing with the audience the transformation that exile has caused in her and the guilt of not wanting to return home.

“ROOTLESS” illustrates the dichotomy of postmodern exile:
we are happy follow the rules of a new nation but we allow corruption, apathy and pessimism to smother our own motherlands. Throughout this journey, our eternal
inferiority complex informs our bittersweet adaptation.

Photos by Marius Chira.

¿Qué me trajiste?: Cabaret Boricua
Written, directed, produced and performed by Karina Casiano

Puerto Rico:
Tito Fortuna Bar, May 1999
Bar ?, Old San Juan, June 1999

January 2000, Café-Teatro Delirio Habanero, Teatro Nacional, La Habana
South American Tour (Ecuador, Peru, Chile, Argentina:) January - May 2001 


A bold play about the issues of identity and sovereignty of the Puerto Rican people, it was
inspired by the cultural and ideological shock Casiano received as a Latin U.S. citizen on her one-year
trip to diverse South American countries in 1998.

The play raises the question of the role of Puerto Ricans in their country's political and social destiny with bittersweet humor. A deceived and jaded prostitute leads the audience through the travels of a young wide-eyed girl who leaves her country in search of a more ideologically fulfilling life.

A disturbingly practical flight attendant and an enigmatic nightclub employee test the reasons of the
Little Red Riding Hood who fled her land only to find and envious, fed-up "third world." The astonishment of coming face to face with the dilemma of her identity and nationality as a Puerto Rican makes her realize
how fragile dignity can be.

Photo by Jorge Dieppa. Postcard design by Matt Egan.


o el cabaret de los días terribles

Written, directed, produced and performed by Karina Casiano

Puerto Rico:
November 2000, Bar ?, Old San Juan

February 2001, Teatro Malayerba, Quito, and Casa de la Cultura, Ibarra

New York:
August 2004, HERE Arts Center (TALR Festival) 


A musical multimedia play which fictionally predicts the future of Puerto Rican society based
in the prevailing repressive policies enforced in the United States and other countries.

An array of baffling characters sing, dance and invite the audience into the world of a fictional Puerto Rico in 2007: a government-run night club where behavior considered illegal before an uprising in 2001, is
permitted. The purpose is to keep social order through an illusion of freedom. Terrorized citizens
accept and promote these measures as a response to the threat of losing their individual well-being.

Unfortunately, the social issues raised by the show are even more pertinent now than in the year 2000 when Casiano originally wrote the play. Omnipresent surveillance, the police and the military flooding the streets, and ethnic and ideological profiling are now part of our everyday lives. The show presents, with a heavy dose of sarcasm and dark humor, how a US-owned nation sloppily subscribes to its version of an
expensive, sophisticated police state.

Photos by David Rubio
and Eric Borcherding. Postcard design by Matt Egan.


laCriaturatheater (Since 2005.)



New York:
December 2 to 12, 2010, a presentation of La MaMa E.T.C.
June 9 to 13, 2011, 5th Teatro StageFest, Connelly Theater


September 1 & 2, 2011, SESC Belenzinho, São Paulo (as part of the first LITFNY/SESC Partnership)

More information at


They found each other in the lonely, apocalyptic city.
Now they must choose between their bliss and their convictions.
A poetic and poignant post-recession love story set in the near future with
Karina Casiano and Renzo Ampuero*.

Premiered in association with La MaMa ETC, New York City, in December 2010.

The Orphans is made possible with public funds from the New York State Council for the Arts,
celebrating 50 years of building strong, creative communities in New York State's 62 counties.
And by the support of  Puffin Foundation, The Yip Harburg Foundation and John Soto. 


* Appears courtesy of Actors' Equity Association.
Photos by Marlon Krieger.

Silence Is Health / Silencio es Salud

Written and directed by Karina Casiano for La Criatura Theater
With Miguel Belmonte, Jorge Dieppa, Antonio Pantojas,
  David Storck, Elodián Barbosa and José Acevedo
Stage Manager: Miguel Ángel Reyes

New York:
February 2006, CSV Cultural Center, Lower East Side
June 2006, chashama @ Queens, old Citibank Building, Long Island City


A chilling, site-specific, documentary play seeking to shed light onto mass psychology, fear, individualism and oblivion.

Based on official documents, testimonies, historical research and analyses of similar periods in Argentina, Guatemala, Chile, Spain, Germany, Ireland, Israel and the United States, "Silence Is Health" is an aesthetic approach to the pressing debate on human rights, warning us of the symptoms of a horrific pattern too often repeated throughout History.

For more photos, info and audience reviews, click HERE for La Criatura theatre company's site.

Photos by Abel Ramírez and La Criatura.


Founded in 1996 by Fermín Candelario, Karina Casiano, Manolo Castro and Myrna Cuevas, Colectivo C-4
works in a completely cooperative fashion taking advantage of its members' array of skills, which feed
the Company's creative process and administration. No hierarchies or static roles are established;
duties are distributed freely and variably.

Colectivo C-4 selects plays which address our society's most pressing issues, such as violence, inequality and lack of solidarity. The company seeks to build eclectic stagings that go beyond traditional theatrical form, and includes movement and dance as crucial references to creation.

HAMLETMACHINE by Heiner Mueller
Festival de Teatro Instituto de Cultura Puertorriqueña 1996
University of Puerto Rico, Río Piedras, 1997
Festival de Teatro de Caguas, Puerto Rico, 1997

by Jorge Díaz
Festival de Teatro de Caguas, Puerto Rico, 1999
University of Puerto Rico, Río Piedras, 2000
Centro de Bellas Artes, San Juan, Puerto Rico, 2000
Festival de Teatro de La Habana, Cuba, 2000

by Álvaro Menén Desleal
Festival de Teatro Insitituto de Cultura Puertorriqueña, 2000
University of Puerto Rico, Río Piedras, 2000
Festival de Teatro de Caguas, Puerto Rico, 2004 

Photos by Colectivo C-4.

Copyright Karina Casiano 2003-2018. All rights reserved.