Drive-Thru Interview with Maria Coon and the La Llorona legend at Spectral Raven
BY HEATHER PARISH
Spectral Raven Theatre Company brings the eerie shadows to our May flowers with “Balada De Muerte,” a new original play opening on May 1 that leans into folklore, grief, and the supernatural. Set in 1950s New Mexico and inspired by the legend of La Llorona, the production blends dramatic realism with music and a bilingual script to create a haunting, immersive experience.
It’s exactly the kind of bold, genre-bending work that makes theatrical horror so unique. It is an under-produced genre that embraces stories that are less about jump-scares and more about emotional and cultural depth.
At the center of it all is Spectral Raven Theater Company owner Maria Coon, a local professor, director, and actor whose academic background in literature and creative fiction informs her theater work. With “Balada De Muerte,” she’s aiming for something intimate and mythic, rooted in cultural memory while reaching for something timeless.
To get a quick glimpse into her perspective, I dusted off my signature Drive-Thru interview questions for a fast, focused, and a bit unpredictable e-mail chat.
In one word, describe your present condition.
Voracious.
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In one sentence, what’s going on in your world?
My world is the play and the play is my world—a wondrous, fog-drenched cyclone of rehearsals, stage effects, haunting melodies, decaying ruins, and the beautiful magic of theatrical creation.
With no restrictions on content or form, describe the present condition of your artistic outlook.
My artistic outlook blazes at a fever pitch—volcanic, rebellious, and completely all in—caught somewhere between born into this and the betting table.
Why the legend of La Llorona?
The legend of La Llorona has haunted me since childhood. I was the often-awe-struck grandchild of a remarkable grandmother whose stories were told with breathtaking dramatic artistry, and La Llorona was often the spectral star of her twilight tales. Years later, while researching the legend for my MFA thesis in Creative Fiction, I discovered that my own experience with La Llorona was part of a vast cultural tapestry—one woven through generations by the enduring power of oral tradition.
Rooted deep in the sediment of centuries past, the wailing woman’s story has branched and transformed over time, taking on as many variations, twists, and unexpected forms as the hidden roots of an orchard. I felt irresistibly drawn to retell her story in unique and unexpected ways: to free the ghost trapped in perpetual grief for countless centuries, and to let her rise from the cold river to walk once more among the living, if only for a time.
Though “Balada De Muerte” is a ghost story for the stage, it is far more than an adaptation of folklore. The play is a story of community, of the inevitable effects of time and technological change on tradition and culture, and of the profound, intricate ways love, life, and grief are forever intertwined.
What do you find exciting about working in the theatrical horror mode?
Every last thing—from the first letter of a well-written spooky script, to the dark, sacred silence of the theater itself, to the final drop of stage blood! There is no more thrilling lens through which to tell a compelling story than dramatic horror.
What’s been challenging about bringing this script to life? And what has been a joy?
One of the greatest challenges in bringing the script to life came when circumstances beyond our control struck—the fire at the Labyrinth Art Collective during Spectral Raven’s first attempt to produce the play—halting production for over a year. Yet, the greatest joy has been witnessing the sheer audacity and resilience of my cast and crew, who held the work close through the long storm of uncertainty and refused to let it go.
What sort of person is going to love this show? And who should not come see this show?
The aspiration of this play is to resonate with every audience member on a meaningful, personal level. At the same time, Spectral Raven remains the Valley’s only horror theatre company, and we have some truly chilling effects in store! Those faint of heart at the sight of apparitions or realistic stage blood are advised to remain safely at home in their cozy crypts.
What are your top three theater reads?
My top three theater reads are as follows:
“Macbeth,” by William Shakespeare, “Respect for Acting” by Uta Hagen, and “A Streetcar Named Desire” by Tennessee Williams.
What would you like to see more of on Valley stages?
Of all things I would most like to see on Valley stages, it is the rise of original, local work. Nothing is more vital to the survival of theater—in all its breadth—than purposeful, engaging, and inspiring new stories that have yet to be told by the voices of today. This is a dangerous time for art. For the first time in its history, the modern theatre artist in particular faces challenges unlike any before—since the art form’s earliest emergence at the dawn of civilization. Without new work born from the authentic voice of human experience, written in the here and now, theatre risks losing the very lifeblood that sustains it.
What is the most common misconception surrounding theater in the Central Valley?
The most common misconception about theatre in the Central Valley is that nothing is happening—when in fact, the opposite is true. The region’s theatre scene is thriving! The simple truth is that Spectral Raven Theatre Company stands as one of many voices in a vibrant community of talented artists.
Anything else on your mind?
Yes—dark coffee and moonlight, both exquisite companions for writing! October’s jack-o’-lanterns flicker nigh!
“Balada de Muerte” performs at St. Dulce, 1445 N. Van Ness Ave, in Fresno’s Tower District. May 1st at 7:30 p.m., May 2nd at 2:30 p.m. and 7:30 p.m., May 7th at 7:30 p.m., May 8th at 8:00 p.m. and May 9th at 7:30 p.m. Full information and tickets are available at their website, spectralraventheatre.com
