What was your first encounter with the performing arts?

Perhaps playing a tree in a school play in third grade? While the other kids were running around, my performance was a study in stillness and passive observation, a groundbreaking exploration of the power of doing absolutely nothing. The critics—my parents—said I was very ‘rooted in my purpose’.

When you were a child, what did you want to be when you grew up?

My first dream was to become a supermarket cashier. Back in the ’80s, before barcode scanners, they would type all the prices into those big, noisy machines with their beautifully painted nails. They looked so glamorous and possessed such an intimate knowledge of consumer pricing. My mom, however, thought I should ‘aim higher.’ My second choice was to be a theatre director, which, when you think about it, turned out to be just as much about meticulously orchestrating small movements and handling a lot of loud machines.

Which performance has kept you awake recently?

NÔT by Marlene Monteiro Freitas at Festival D’Avignon. Stunning.
I am usually kept awake by my own insomniac nature, but the images definitely came back to haunt me.

Which performance is unforgettable?

Unforgettable? Laurie Anderson’s performance in Bozar in 2023 within the event dedicated to her oeuvre What’s the story, Laurie? Beautiful and profound. I left the theatre with a newfound appreciation for her genius. She’s my utmost idol.

What is your favourite place to be?

Cheesy, but I’ll have to say the theatre; lights out, just before entering the stage.
I have a similar feeling when I get on a plane, just before takeoff. I use that time to cast the roles for my fantasy plane crash on a deserted island. The businesswoman in 3B becomes the stoic leader in charge of hunting and building the cabana, the flight attendant gets to be the spiritual guru, and I’d document it all on a series of coconut shells I manage to scratch with some small rocks.

Who taught you the most in your life?

Mom, an avid reader like me.

What does your workplace or atelier look like?

My office is quite cosy. It has a big wooden table and a huge empty wall for all my maps and plot schemes. The most prominent feature, however, is a small, unlabelled box in the corner. It’s filled with hundreds of Post-it notes containing all the brilliant, fleeting ideas I’ve ever had. I’ve never read them again, and I probably never will, but knowing they’re there is a source of both comfort and creative anxiety.

What do you to relax?

I sport a lot. About five times a week. Hot yoga and running.

What music do you have on repeat at the moment?

I usually seek silence. Boring but true.
I’ve been listening to Benjamin Clementine and to techno when I go running.

Do you have a ritual before you go on stage?

I say the names of the great ones in my mind: Nina Simone, Bill Hicks, Maya Angelou, James Baldwin, Laurie Anderson…

What is the best thing about your job?

That I get paid to do what I love.

Do you have a daily practice?

I read at least two hours.

Does theatre have an impact?

Good theatre has impact. Those pieces that still evoke transcending aesthetic experiences.

“Of course I care about reviews. But I don’t lose my sleep with critics that don’t know how to write.”

With whom would you like to collaborate once?

In Trouble Score I got the chance to collaborate with amazing artists; light designer Nick Verstand, who builds stunning ritualistic environments, Quinsy Gario, who has the most contagious laughter who could wish to hear, Nástio Mosquito, with whom I wanted to work for a long time and who is funny as hell, and obviously my brother Pablo Casella, who is an astonishing composer and who’s been my greatest partner throughout the years.
In the near future, I would love to collaborate with opera singers, still cooking that idea.

Have you ever had a special encounter with an audience member?

I once had a wonderful conversation with a blind woman after KillJoy Quiz, who confronted me in my use of the word ‘blindly’ in an offensive manner. We learn in these encounters, they’re very precious.

Do you care about reviews?

Of course I care about reviews. But I don’t lose my sleep with critics that don’t know how to write.

What is the most recent note you made?

Call your mom!

If you would get the chance to start again and choose a new career, what would you do?

I would probably do the same.
I regret not having studied literature, and I often think I would be just as happy as a writer. Though I love being around people.

Do you think the theatre will survive in the future?

Yes, I think theatre can survive the future. People will always crave live experiences.

Trouble Score will premiere on 2.10.25 in NTGent. Check here for the full list of tour dates.

Read about Luanda’s first love, the artwork that marked the beginning of their practice.

Read Luanda’s essay on language, violence and resistance in her piece Killjoy Quiz.

Read our reviews of Elektra Unbound and Killjoy Quiz.