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Life & Work with Chris Rodriguez of Balcones Heights

Today we’d like to introduce you to Chris Rodriguez.

Hi Chris, it’s an honor to have you on the platform. Thanks for taking the time to share your story with us – to start maybe you can share some of your backstory with our readers?
I have been an active member of the San Antonio theatre community for the past 25 years. I was born and raised in San Antonio in a family that was very sports-driven. Growing up, I explored a variety of extracurricular activities in school, but eventually found my calling in theatre. I graduated from the North East School of the Arts in 2021 and pursued college for a bit at Sam Houston State University.

When I returned to San Antonio, I worked at The San Pedro Playhouse as Youth Program Director and Box Office Manager for nine years. During that time, I began teaching theatre and dance, and I have spent the last 20 years as a contract choreographer for local high school drama and choir programs. In 2012, I was hired by the founders of Wonder Theatre as Youth Program Director and Resident Choreographer. I was promoted to Artistic Director in 2015 and to my current position in 2016.

Some of my favorite directing and choreography credits include Altar Boyz, Beehive, A Chorus Line, Xanadu, Young Frankenstein, Smokey Joe’s Café, West Side Story, and Evita.

Can you talk to us a bit about the challenges and lessons you’ve learned along the way. Looking back would you say it’s been easy or smooth in retrospect?
I wouldn’t call my journey a smooth road—more like a rollercoaster with plenty of highs and lows—but honestly, I’m always ready for another ride. Working for a nonprofit isn’t always easy—the pay can be low, and the hours are long—but I’ve learned a lot along the way. Early in my career, I often felt stuck and unhappy, both in my work and in my daily life. What I’ve realized is how important it is to find a work environment that really fits you and reflects your values. If you’re not happy at work, it’s going to spill over into the rest of your day, and nobody wants that.

Alright, so let’s switch gears a bit and talk business. What should we know about your work?
Since 2012, I have been working for the Wonder Theatre (formerly Woodlawn Theatre). Currently, I wear two hats at the nonprofit, serving as both Executive Director and Artistic Director. That means my days can vary greatly—one day I might be working on a grant, and the next I’m blocking a scene for an upcoming musical. I’ve been in this leadership role since 2016. I never thought I would receive this position at such a young age, but I learned the ropes quickly and am still finding room to grow in my role.

There are several things I’m proud of in this position. Over the years, many other theatre and arts organizations have seen multiple leadership changes, and I feel like I’ve managed Wonder Theatre with professionalism and heart. I’m only as strong as the rest of my team, and I’m fortunate to have an amazing team and Board of Directors supporting me and this organization. We were the only theatre in town that kept programming going through the pandemic, whether through streamed performances or small outdoor shows. Coming out of the pandemic, we were able to bounce back and continue expanding our reach in the community.

Most recently, last year, we decided to move to our new home at Wonderland of the Americas (formerly Crossroads Mall). This project included a major capital campaign and the task of moving 12 years of materials to our new location. After a year and a half in our new home, I feel like we have a solid understanding of who we are in this space and how we want to grow moving forward.

Can you talk to us about how you think about risk?
I’ll admit, I’m generally not a big risk-taker—I tend to play things safe in my day-to-day life. But when it comes to my work at the Wonder Theatre, risk-taking is sometimes part of the job. Each season, we aim to produce a variety of shows that appeal to a wide range of patrons in our community. Of course, we want every show to sell well, but every now and then we’ll take a risk on a production that carries a beautiful message or an important takeaway. Even if it doesn’t bring in a sold-out house, we see it as an opportunity to share a meaningful story on our stage. We also love to take classics and reimagine them—turning them on their head to breathe new life into familiar tales.

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