Live Arts: Edoardo Tesio Of ‘Theater Company della Luna’ On The 5 Things You Need To Create A Highly Successful Career in Broadway, Theater or Live Performance Art
…Humility. Listening to feedback and criticism in order to grow is important. Sometimes it can be hard to discern constructive criticism from harmful criticism, but it’s a really important skill to have. Theater Company della Luna and I are at our third production of the show we are bringing to New York in April. For each production, Marjorie Murillo and I wrote a new version of the script, taking into consideration everything we had learned from the previous production and the feedback we received. That said, being confident and proud of the work you’re doing is important. There’s always more growth to be achieved, but you’ve got to believe in yourself!..
As a part of our series about creating a successful career in theatre, I had the distinct pleasure of interviewing Edoardo Tesio. 24-year-old Edoardo Tesio is the artistic director and co-founder of Theater Company della Luna. He has produced, written, and directed nine original theater shows, bringing his work off-Broadway to the Edinburgh Fringe Festival, where della Luna’s show Love’s Concordia Bar received critical acclaim. His work has been featured at the New York Theater Festival, the International Lovers Film Festival, New York regional theaters, and Italian theaters. He has also received positive press in Italian national newspapers, Scottish outlets such as Counter Culture and Scottish Field, and American outlets like Broadway World and Lavender After Dark. He holds a BFA with honors in Drama from New York University.
Thank you so much for joining us in this interview series! Can you tell us the story of how you grew up?
I was born and raised in Italy. My parents might be a lawyer and an engineer, but they are both very much in touch with their artistic sides. My dad dreamed of being a drummer, but his family didn’t let him. So, as soon as I began showing interest in the arts, my parents were immediately very supportive. I am very close to my grandma, who used to be a theater actress. She gave me my first two dolls at Christmas when I was five years old. I had eyes only for those dolls. I spent the following ten years creating a world in which dolls and humans were in conflict, and the dolls in toy stores were prisoners of war that kids could save by bringing them into their houses and creating a safe space for them. I created this queendom of dolls and kept making stories upon stories that took place in it. There was no judgment there — just my dolls, my love for storytelling, and me. That’s when I started with theater.
I began writing, directing, and producing theater at 15, performing at local festivals. I moved to New York City at 17 to study Drama at New York University. There, I met Olivia Altair, a composer and music producer; Bridget Spencer, an incredible choreographer; and Marjorie Murillo and Tomoka Takahashi, two amazing actors. I don’t know who or what is up there, but we were meant to meet. Together, we started Theater Company della Luna in 2021 and haven’t stopped making shows ever since!
Can you share a story with us about what brought you to this specific career path?
As an early teenager, I used to love acting. However, according to many of my teachers back home in Italy, I had no future in the industry because “you’re too feminine, you’ll get no roles if you don’t learn how to man up.” I’m never going to learn how to man up. Even at that time, I knew I didn’t want to, and I didn’t need to. I’m powerful in my femininity. So, I was faced with a choice: either I don’t pursue my dream in theater, or I try to change the rules. I went with the latter. At 15, I wrote my first theater show — a show where a man being feminine is not a problem. I didn’t talk about the fact that I was feminine. It just didn’t matter. It was normal. It was this cool story set in a magical circus with big pop dance numbers to Britney Spears’ songs.
A few months later, I wanted to put it up, but I had no idea how to do it. So, I just did it. I put together a cast, found a venue, fundraised to pay for the venue, budgeted the project, planned the rehearsals, and promoted it. I produced it without knowing that was the term for it. I really didn’t know what I was doing. The entire cast left halfway through the process, not believing we were ever going to make it. So, I found a new cast, and I made it. All Eyes on Me! debuted in December 2017 in a sold-out theater in front of a crowd of 357 people. That night changed my life. I felt free to be who I am and finally beautifully normal.
Shortly after, I brought the show to an Italian theater festival. The judges were fighting over the appropriateness of its empowerment, the different body types equally being given power on stage, and, of course, the vulgarity of a man in heels. Had I performed a two-hour monologue about body shaming or my experience with homophobia, I would have been praised. The minute I let a variety of people with different backgrounds and appearances tell a story that is just a story, it’s controversial. Isn’t that hypocritical? I believe that words are powerful, but facts are even more so. My cast and I just being ourselves on stage was enough to start a huge conversation. After the opening, the dancer who was criticized the most for her appearance told me that night she had “fallen in love with her body for the first time.” That’s a beautiful thing! Yet, it was so disturbing to some people. That’s when I realized that I didn’t simply want to act. I wanted to write and direct, to create my own worlds. That’s when I understood the power of the theater I want to make. The power of real normalization. It is empowering for those who need empowerment — such as that dancer and some of the audience members who looked like her — and a slap in the face for those who need one — such as some of those judges.
None of us are able to achieve success without some help along the way. Is there a particular person who you are grateful towards who helped get you to where you are? Can you share a story about that?
My parents are the reason I was given the chance to do this in the first place because they believed in me, and I will be forever grateful to them for that. That said, Olivia Altair, one of the co-founders of Theater Company della Luna and the composer and producer of all the original pop music for the company’s shows, was essential to my journey. We met on the first day at NYU and bonded right away over my Britney Spears tattoo (yes, I have Blackout tattooed on my chest!). We share a vision. She just gets it.
She took the idea I had for the pop theater show and elevated it with her music. She believed in me when I needed it the most, and I hope I did the same for her. I don’t know if I would be making as much art, or as much art that I love, if I hadn’t met her. Artistically, we are always — and I mean always — on the same page. We don’t even need to talk about it. Last year, I came up with the idea for a new show and the sound of the songs for it. I told her about it, and she played me the demo of a song she had just written and produced. Guess what? The song was exactly in the musical world I had in mind for the new show. We have moments like this all the time. It really makes a difference not doing this alone in a tough industry like the arts.
You probably have a lot of fascinating experiences. Can you tell us the most interesting story that happened to you since you began your career?
A couple came to see our show and then broke up because of a conversation sparked by the show. The show was their last straw. Is that a weird flex? I just thought it was fascinating how something you create can spark this much conversation and have consequences like that. It really reminded me of the power of theater and art in general.
It has been said that our mistakes can be our greatest teachers. Can you share a story about the funniest mistake you made when you were first starting? Can you tell us what lesson you learned from that?
I’ve always liked doing things my way, and sometimes that has paid off; sometimes, it hasn’t. When I auditioned for acting school at NYU, I brought in a monologue I had written. I just went in with no thoughts — head empty. I remember my auditor was very confused. I was confused as to why he was confused. I definitely hadn’t done my research. I ended up getting in, but I was placed in the Experimental Studio Wing, which I probably wouldn’t have chosen at the beginning. I probably ended up there because I brought my own monologue to the audition. But hey, I ended up loving the Experimental Theatre Wing at NYU, so things worked out anyway! Still, I definitely learned that I need to do my research before I apply for anything!
What are some of the most interesting or exciting projects you are working on now?
In April, Theater Company della Luna and I are bringing our original show, Love’s Concordia Bar, to New York City at the Flea Theatre! This show, which I wrote with Marjorie Murillo, is definitely one of my most personal to date. It’s about a burlesque bar owned by Love itself, where only people who are in love are allowed in. It explores how toxic the idea of romantic love, as society sells it to us, actually is. In my experience, this can lead to becoming dependent on the idea of romantic love itself, convincing us that we can’t be okay if we don’t have romantic love in our lives. Sometimes, I feel like it can be easy to love the idea of love itself more than a person. Add original pop music and sexy burlesque dance numbers, and you have Love’s Concordia Bar!
We brought the show to the Edinburgh Fringe, and we were struck by how much conversation it started among our audiences and reviewers. I am very curious to see what the New York audience will add to the conversation.
You have been blessed with success in a career path that can be challenging. Do you have any words of advice for others who may want to embark on this career path, but seem daunted by the prospect of rejection, lack of support, or failure?
I don’t know if I’m in a place yet to give advice, but I would definitely say: be your number one supporter. If you’re lucky, you’ll have a supportive environment, but I have yet to hear a story about someone in the arts who didn’t have to face rejection after rejection. The “no”s are always more than the “yes”s. If you don’t say yes to yourself and actively keep creating opportunities for yourself, rest assured that nobody is going to say yes to you. I believe being receptive to criticism in order to grow is extremely important, but believing in what you’re doing is even more crucial.
Which tips would you recommend to your colleagues in the live performance industry to help them to thrive and not “burn out”?
I would say take that artistic break if and when you need it. If, in the meantime, you have to do something else to support yourself, then so be it. But take that break, or you might risk resenting what you once used to love. In all honesty, I have to learn how to follow my own advice. I am very bad at taking breaks, but they truly are necessary. We’re not bad artists because we need to stop creating sometimes.
Thank you for all that. This is the main question of our interview. What are your “5 Things You Need To Create A Highly Successful Career in Broadway, Theater or Live Performances” and why? If you can, please share a story or example for each.
- Consistency. As cliché as it might sound, not giving up is the main thing, in my opinion. I remember when I was producing my first show at 15 in Italy and had absolutely no clue what I was doing. Halfway through the process, 80% of my cast left because they didn’t think we were ever going to get anywhere. Guess what? I learned many lessons, got a new cast, and we made it. There’s always a way; you just have to keep trying.
- Humility. Listening to feedback and criticism in order to grow is important. Sometimes it can be hard to discern constructive criticism from harmful criticism, but it’s a really important skill to have. Theater Company della Luna and I are at our third production of the show we are bringing to New York in April. For each production, Marjorie Murillo and I wrote a new version of the script, taking into consideration everything we had learned from the previous production and the feedback we received. That said, being confident and proud of the work you’re doing is important. There’s always more growth to be achieved, but you’ve got to believe in yourself!
- An entrepreneurial mindset. It’s all about having an idea and always trying to make it happen, even if you don’t fully know how to do it. I remember when I first started producing, I didn’t even know I was producing. I was just getting together a group of friends, securing a space, making schedules, and promoting the show. I was producing, even if I didn’t call it that. Taking initiative and being active is really important.
- Collaboration. It’s impossible to do everything alone. Asking for help and knowing who to ask for help from is important. Theater Company della Luna needs all its members to work.
- Passion. When things get tough, remembering why you wanted to do this in the first place is key. I don’t know a lot of people who got into the arts because they don’t like the arts. Of course, it is necessary.
For the benefit of our readers, could you describe how the skill-sets you need in a theater performance are different than the skill-sets you need for TV or Film?
In theatre, you don’t control time; in film and TV, you do. In film and TV, you can shoot a scene as many times as you want. Theatre actors are required to live in the now. If theatre has to be “yes, and,” film and TV can also be “yes, but” or straight-out “no.” I’m not saying that all theatre actors have to be method, but they have to be ready to live whatever that performance has in store for them. Whereas emotional availability is good for both sectors, it is a must in theatre. Flexibility is also a must in theatre. I find that exciting; you never know what you’re going to get, just like in life. You wake up in the morning, and you might have your day planned, but you can’t know what’s actually going to happen. Theatre requires an ability to really connect with an audience, to be vulnerable in front of many strangers, multiple nights, weeks, or months in a row. Theatre requires consistency.
You are a person of enormous influence. If you could inspire a movement that would bring the most amount of good to the most amount of people, what would that be? You never know what your idea can trigger. 🙂
I am a big advocate for the power of femininity inside and outside the gay community. When I talk about femininity, I’m not necessarily talking about gender. I have always believed that femininity is powerful and, most importantly, three-dimensional. In our society, femininity is often associated with weakness and detrimental stereotypes. I remember when, at the very beginning of my journey, many people doubted my ability to be in charge of a room because of how feminine I am. I even see it in the arts. To me, real normalization means having the freedom to bring someone’s authentic identity to the stage without that identity having to be the sole point of the piece. For example, a story with gay characters doesn’t necessarily have to be about them being gay. It can be, but it doesn’t have to. Similarly, eminent characters are more than just that — feminine.
Can you please give us your favorite “Life Lesson Quote”? Can you share how that was relevant to you in your life?
“Success is not final, failure is not fatal: It is the courage to continue that counts.”
There is never really an end result. The “end” of something is the beginning of something else. As long as you keep trying, something will happen… Maybe not what you originally had in mind, but something will happen. The only way that nothing will happen is if you don’t try. I remember with my very first show when most of my cast left the project, and even the people closest to me were advising me to just give up on the show. I didn’t. Had I done that, maybe today I would still be “just” an actor. There is always a way; it’s a matter of never stopping trying.
We are very blessed that some very prominent names in Business, VC funding, Sports, and Entertainment read this column. Is there a person in the world, or in the US with whom you would love to have a private breakfast or lunch, and why? He or she might just see this if we tag them.
I would to pick so many people! But if I had to choose one right now I would probably be Ferzan Ozpetek. He’s a Turkish Italian film director who’s a master in storytelling and emotionality. He is one of my biggest sources of inspiration.
How can our readers continue to follow your work online?
I can be found on Instagram at @edoardotesio or @companydellaluna. My websites are also good ways to get in touch with me and my work edoardo-tesio.com o companydellalunatheater.com
This was very meaningful, thank you so much! We wish you continued success!
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