Sara Chaves, a 24-year-old actress and daughter of artist parents, grew up with art running through her veins. With a career that began in the theatre at the age of 10, Sara has already collected leading roles in major musicals, acted as backing vocalist on “The Voice Kids” (TV Globo) and now faces a new challenge playing Graciela, the protagonist of “Mundaréu de Mim”.
Born in São Gonçalo, in the metropolitan region of Rio de Janeiro, Sara has seen her hometown become a powerhouse on the artistic scene. At a time when black protagonism is gaining prominence, Sara recognises the changes, but points out that there is still a long way to go.
The show “Mundaréu de Mim”, which oozes Brazilianness, has attracted an audience of up to 3,000 people per session to Água Branca Park in São Paulo. With music that mixes Brazilian rhythms and a plot centred on Carnival, Sara Chaves, representing her roots from São Gonçalo, is an essential part of this show, which will run until 29 October.
Your journey into art began at a very young age. Could you share with us how you came to know that acting was your calling?
I started doing theatre at the age of 10 in São Gonçalo/RJ. But the opportunities were greater in Rio de Janeiro. So I had to migrate to get my first jobs. I took singing, theatre and dance courses in Niterói until I turned 18 and entered CAL’s performing arts faculty, where I graduated. I was always sure in my heart that acting was my vocation, ever since I was at school. My parents supported me throughout the process, took me to all the courses and were the main supporters of my dream.
You play the protagonist Graciela in the show “Mundaréu de Mim”. What does the character represent to you and what is the central message of the show?
Graciela brought me back to being a child. We’re alike in many ways. I like to say that Graciela has always been in me and I’ve been discovering this 10-year-old girl with each scene. She’s my first real protagonist and I feel like I’m representing so many stories and experiences of black children. Graciela grew up not knowing her father, wanting to live a great carnival adventure and, with that, understand herself. She is extremely mature for her age. The show introduces the subject of death to many children in a light, fun and playful way. Mundaréu de Mim is a show about longing, death and carnival. Every year, during Carnival and on Ash Wednesday, people who have gone to another plane – but haven’t died – “become saudades” and can walk among the living again, since they won’t be seen in the crowds and in costumes.
How do you see the artistic and cultural scene in São Gonçalo, Rio de Janeiro? Are there initiatives to encourage art and growing opportunities for young talent?
São Gonçalo is of immense importance to me, where my personality was formed, where it all began. I always say that with artistic projects growing more and more, I believe that in the future it could be the city that reveals the most stars. There are changes taking place in terms of access to culture in the city. Currently, I see more initiatives to encourage the arts, theatre schools being created, groups and companies consolidating, soirees and free events for the Gonçalense public, even at the Municipal Theatre of São Gonçalo. There are increasing opportunities for young Gonçalans to specialise, even in musical theatre, such as the Gabriel Engel course in the centre of São Gonçalo. Today I see more possibilities in the city compared to when I started.
The fight for more diversity and representation in theatre is an important issue. What challenges have you faced or witnessed in the theatre industry and what advice would you give to other artists facing similar issues?
I’ve faced challenges as a black actress, especially when it comes to casting. I’ve often heard that certain characters had to be played by white people, to the point where I couldn’t audition because of my “profile”. Unfortunately, I know that I will still suffer a lot in this life. The advice I always give and have for my life is: Study! But study a lot! Because it’s not enough to be good, you have to be excellent, for a judging panel and/or production to choose a black person to be part of their work. We [blacks] will always have to prove that we are worthy of being somewhere or having a role (leading or not), whether in theatre or audiovisual. “As long as the colour of your skin is more important than the sparkle in your eyes, there will be war.” Bob Marley. Let’s study to be the first choice for a character, not because of the colour of our skin because “diversity sells”, but because of our talent.
“Mundaréu de Mim” is a show that celebrates Brazilianness and carnival. How do Brazilian music and culture influence your performance and artistic work?
Mundaréu mixes different Brazilian rhythms such as frevo, maracatu, samba, coco and axé. In the process, musical director Gui Leal said that “everything starts with ijexá”. I think Brazilian music and culture influence the body work, the way we speak and sing in each scene, the nuances of the text. What makes Mundaréu de Mim so rich is that it celebrates Brazil, its rhythms, festivities, accents, customs, translations, colours and bodies, without having to applaud and praise what comes from abroad.
As well as theatre, you’ve explored audiovisuals. Can you share a little about your experiences in this area and your future aspirations in the audiovisual field?
Audiovisual was a passion that came into my life a little later. Although I’m very much a novelist and a consumer of streaming content, my interest arose while working in musical theatre. I took part in some short films such as “Aumenta O Volume”, by Samara Gonçalves; “Viventes”, by Fabrício Basílio; “A Refeição”, by Felipe Varanda. I also shot a musical film during the pandemic, “Poema!”, by Jay Vaquer, about a massacre in a wealthy school. However, the first contact I had with audiovisuals was as a backing vocalist on The Voice Kids in 2019, an experience that gave me a lot of baggage for so many jobs. I’m currently in the process of auditioning for audiovisual work, but I’ll continue with projects in theatre – and especially musical theatre.
Which artists or industry figures inspire you the most and who do you dream of working with or collaborating with in the future?
My biggest inspirations and some of life’s masters are David Herman, Cico Caseira and José Celso (who are no longer with us), Lázaro Ramos, Zezé Motta, Will Smith, Viola Davis, Fernada Montenegro, Marjorie Estiano, Charles Moeller, Tauã Delmiro and, of course, Duda Maia, for his attentive and meticulous eye for the whole, body work and direction.
How do you balance your academic training, your theatre roles and your aspirations in art? What are your plans and ambitions for the future?
I sought academic training so that I would have the background and study to face the performing arts market, which has its difficulties like any other area, and to train myself for all possible roles and characters. I intend to carry on studying, finishing a postgraduate degree so that in the future I can have a choice of paths to follow, apart from working in theatre, musicals and audiovisuals.
What is your dream role, whether in theatre or audiovisual, and what kind of stories or characters are you eager to explore?
My dream role in musical theatre is the character of Little Inez in “Hairspray” and I’m looking forward to taking part in musicals such as “Once in this island”, “Hamilton”, “Fame”, “Hair”, etc. I’m also interested in taking part in audiovisual musical series. I wanted to explore characters with lots of layers, intensity and drama. But I have to confess that I’m looking forward to comedy work and characters. It’s a challenge, but one I’m really looking forward to.
Finally, what message would you like to pass on to young artists who are starting their careers in acting and the arts?
The message I want to pass on to young artists is: study, read a lot (plays, reviews, world theatre history) and don’t give up. Look for specialisation courses, scholarships, form groups and theatre companies. The road is long and sometimes very tiring. But it’s worth it in the end. Doing theatre is a vocation, it’s a destiny. If you’re scared, go for it!
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