[Paul's] innate youthfulness and vitality adds an intriguing element of strength and resilience to [his] world-weary middle-aged character... Flores and Winnick balance macho and misogynist traits with fear and vulnerability.
Paul Flores is quite effective as Roberto, with an affected mask of affable and gregarious charm that occasionally slips to reveal the hunger and cruelty that lies behind his easy grin.
Production Photos
At The Sophia B. Clarke Theater
At The Walnut Studio Theater
At The Sophia B. Clarke Theater
About Me
Paul Flores is an actor, director, playwright and comedian from East Los Angeles, California. His work has garnered relationships on both the east and west coast. He spends most of his time developing new work and studying alternative techniques to explore the theatrical form. Some of his favorite roles include Lee in True West by Sam Shepard, Cousin Julio in MF’er With the Hat by Stephan Adly Gurgis, Danny in Danny and the Deep Blue Sea by John Patrick Shanley and Roberto in Death and the Maiden directed by Gary English at CRT. He has won an award for playwriting at The Kennedy Center’s Acting Competition for Southern California in 2018. He performs in standup clubs and theaters across California and Nevada as himself and different characters. He has also directed and produced plays in Pomona for Room 110 Productions and the Covina Center for Performing Arts. They include original works like (m)Other by Faith Kearns, Leviathan which he wrote himself and known classics by Sam Shepard and John Patrick Stanley. He hopes to be a part of theatre that nudges the audience into political and existential action through interesting and seldom produced plays. He has his MFA in theatre and performance from the University of Connecticut and his BFA from Cal State Los Angeles.
Diversity Statement
As a Latinx actor, director, playwright and dramaturg, I am passionate about telling stories that challenge our preconceived notions of the world and that reflect the everyday struggles of Latinx people. My work seeks to provide a platform for underrepresented voices, inspiring audiences to question their own worldviews and take action in their everyday lives. I strive to create an immersive, transformative theatre experience that shocks the audience out of complacency and into an existential state in which they can identify with the issues facing marginalized communities. Through my work, I hope to empower and embolden people from all backgrounds to join together to create inclusive, equitable societies.
On Pedagogy
As I wrap up grad school, I find myself meditating on acting as an artform. What it means to be an actor or storyteller or a play analyst. It really is a bastard art marrying dozens of disciplines together in the hopes that you land a dart on the little circle of truth and presence. This artform is about living truthfully rather than finding work that allows you to perform truth. The art reminds you to seek out life and connections with loved ones and future loved ones, and find moments of real connection and honesty. That’s what allows a person to fall in love with their character, no matter how brutal or tender they are. Find that tiny piece of humanity in them that makes you fall in love with them. Live life so truthfully that returning to the artform, you can’t help but love this person that somehow exists somewhere in the writer’s world. The only wisdom that exists is in the openness with which you approach life. That’s why I don’t believe an actor can be bad. They’re either well connected, or they’re protecting themselves in some way, holding back because it’s how they’ve learned to cope. It’s not a bad thing to act poorly. It’s intelligent to protect your heart. The method I train in is about loving kindness toward oneself and the world. The decision to run towards the places that scare us with openness and confidence.
