American actor Rosa Salazar, celebrated for her starring role in the cult blockbuster 'Alita: Battle Angel', has made a significant shift in her career, moving from the bright lights of Hollywood to the esteemed stages of London's West End. Salazar is currently rehearsing for a new, all-female revival of David Mamet’s Pulitzer-winning drama, 'Glengarry Glen Ross', at the Old Vic theatre. This move marks a deliberate pivot for the actor, who initially envisioned a career trajectory rooted in theatre before moving to television and then film.
Salazar's journey to stardom has been far from conventional. She openly speaks of a 'very chaotic upbringing', a period where she lived out of her car, and even a stint in stand-up comedy, all before her acting career took off. Despite her early plans to hone her craft in theatre, she quickly found herself immersed in major film productions, securing supporting roles in films such as 'The Divergent Series: Insurgent' and 'Maze Runner: The Scorch Trials', as well as Netflix's 'Bird Box'. Her most prominent film role came as the titular character in James Cameron’s 'Alita: Battle Angel', a commercially successful film that grossed £321 million globally.
However, the demands of blockbuster filmmaking began to wear on Salazar. She expressed a feeling of disconnect from the acting process, questioning whether she was truly acting or merely providing 'deliverables' for editors. This dissatisfaction fuelled a strong desire to return to the stage, a wish she repeatedly voiced until she secured her opportunity. Now, at 40, Salazar describes her current state as 'scrappy and satisfied', having finally achieved her long-held theatrical ambition.
At the Old Vic, Salazar takes on the role of Ricky Roma, a cut-throat real-estate agent, in a production directed by Patrick Marber. The play's gender-flipped casting, which retains Mamet's original script without changing pronouns, is described by Salazar as a 'grand experiment'. She highlights how the casting brings new dimensions to the dialogue, particularly in scenes where power dynamics are explored between female characters. Salazar believes the play's core message about the 'capitalist machine' remains potent, regardless of the gender of the characters.
This production marks Salazar's second venture onto the London stage this year. Earlier, she appeared alongside Billy Crudup and Denise Gough in a West End staging of 'High Noon'. She views that experience as 'breaking the ice', demonstrating her respect for theatrical tradition. With 'Glengarry Glen Ross', Salazar aims to delve deeper into her craft, embracing the challenge of performing Mamet’s iconic dialogue in a fresh, contemporary context.
Source: Louis Chilton interview