Eleven years ago, I was in the audience for a production of The Old Settler written by John Henry Redwood. Set in World War II Harlem, two unmarried sisters living together (or as they were called in those days—spinsters or old settlers) take in a younger male roomer to help with the rent. Romance ensues with one of the sisters which sets off a sibling rivalry. The conflict is heightened when the young man’s southern girlfriend arrives. She is the sassy, bodacious Lou Bessie, portrayed by Yohanna Florentino. Watching her performance for the first time, I knew I wanted to see her again, which fortunately I have several times, always portraying diverse characters. She is a fearless actress drawn to and challenged by characters unlike herself. Yohanna’s consummate performances are the result of meticulous preparation and exploration of her characters. These are edited excerpts from our phone conversations.
Roger: You were born in the Dominican Republic. Was that where you had your first experience with acting?
Yohanna: No. I came to New York when I was 7 years old. Had never seen Black people on TV. Saw the Cosby show and how it made me feel. I wanted to do that. I attended a middle school and got into dance. I was afraid to admit I thought I could act. Began acting in college. I felt a sense of connecting with why I’m here.
Roger: In one of our conversations, you said you really like characters you portray to be nothing like you. Can you talk about that?
Yohanna: Sure. I believe there is only one of me. So, I want to play someone different. I’m intrigued and curious about how to feel in another body. Helps to understand emotions.
Roger: What are some of the plays you were in where you felt you really learned about the acting process?
Yohanna: Interesting question. Can’t pinpoint one because they’re all different. I choose things to challenge me. Don’t do everything that comes my way.
Roger: Two plays you were in —The Old Settler and Esmeralda and Isis. In Settler you were a feisty, sassy southern woman and in Esmeralda you were a calm, serene, spiritual murderess. What was your preparation for those two distinct characters?
Yohanna: For both, start with the script. For Lou Bessie: listen to music from that era. Watch movies and talk to friends from the south. With Esmeralda: learn from my own spiritual world and with both, ask questions of the characters. Research is a big component.
Roger: You’ve studied at Hunter College, the Actors Center and the Black Arts Institute to name a few. What do you feel you learned from your training that’s helped your development as a performing artist?
Yohanna: Hunter was my first acting class. Started at 101 and completed all the required levels. At the Actors Center, I learned Acting, Movement, Voice, Clowning. Even put on the clown’s nose (laugh). It was when I allowed my dreams to happen. Also, was in a summer program at the Black Arts Institute. All the teachers were Black. Phylicia Rashad, Ruben Santiago-Hudson, Michele Shay and Stephen McKinley Henderson. Felt the love. Amazing experience through Black excellence.
Roger: We worked together in a Reading/Performance where you performed poetry. How was that a different experience for you?
Yohanna:Yeah, it was. I’m in awe of poets and the way they deliver. I felt there was more to it than acting in a play. There’s a feeling and rhythm different than playing a character. That’s why I wanted to speak to the writer of the pieces.
Roger: You identify yourself as a Black artist born in the Dominican Republic who intends to represent the broadness and brilliance of Black people from the diaspora. What experiences influenced you to develop that perspective of Black consciousness?
Yohanna: I think I was born with that consciousness. As a child, before I came to the United States, the more melanin in someone’s skin the more beauty I saw. When I did come to the United States I was grateful to be around Black Americans, Jamaicans, Trinis (Trinidadians). Felt a commonality. Felt myself at home. I want to use the arts to unite people. Want the Black diaspora to come together. White supremacy is so strong, people are so separated from each other.
Roger: Didn’t you say, “Don’t mess with me” because you’re trained in Capoeira (an Afro-Brazilian cultural practice—simultaneously a fight and a dance)? Talk about the impact Capoeira has had on your acting and your life.
Yohanna: The discipline. I’ve done Capoeira for close to ten years. Taught me the importance of training and hard work. Really taught me about giving your all. You have to be completely present and alert. Acting is the same thing.
Roger: I’m going to read some quotes from colleagues who have worked with you in theater.
Arthur French (playwright): “Working with Yohanna, whether it’s a comedic role or dramatic, she always goes deep into the soul of each character she plays. Yohanna is a joy to work with and she is in my top ten of actors I enjoy working with.”
Janet Mitchell (Founder/Executive Director of AGM Theater Company): –“A very talented actress.”
Ajene Washington (playwright and director): “A hard working actress who is a joy to work with. Truthful and inventive artist.”
Pearl Williams (writer, poet, stage manager): “Yohanna brings with her obvious talent, a creative and intellectual knowledge of the stage. It is a pleasure working with Yohanna.”
Roger: Any reactions?
Yohanna: Serves as a great reminder when things get tough as an artist. They’re beautiful and I appreciate it and I appreciate each one of them.
Roger: What’s on the artistic horizon for Yohanna Florentino?
Yohanna: Continuing auditions. Have some readings coming up. Continue trusting life and to flourish as an artist. G&S
IG: @yohaflorentino
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