How does an individual replace an institution?

It’s a question Children’s Musical Theater San Jose had to address when Kevin Hauge, the company’s first ever full-time artistic director, announced his retirement effective at the conclusion of the company’s 57th season.

Stepping in to fill Hauge’s shoes is no stranger to the company or to San Jose. Kikau Alvaro grew up in the Cambrian Park area, got his undergraduate degree at San Jose State and has choreographed and performed at CMT multiple times over the years.

After years away from the Bay Area, with stops in San Diego, New York City and his current home in Philadelphia with his husband, Derrick, Alvaro was ready to return to the comforts of his old stomping grounds and make San Jose his artistic home, which will happen this August.

In advance of Alvaro entering his new role with a company he first performed with at 17 years old, he talked about his plans and excitement for his new job.

The following interview has been edited for length and clarity.

Q: As a theater maker, was it a tough decision to leave Philadelphia and maybe the access you had to New York, with what you’ve established on the East Coast?

A: All transitions are difficult. I would have loved to stay in Philadelphia. We love it so much, the access to arts and theater, and of course the proximity to New York is wonderful. But there was something that was calling to me with this position in particular, and being in this seat is just a total dream job. It feels like I’ve put together all of the amazing experiences I’ve had, new works, previously produced material, education, and I’m going to approach it as an educator and commercial director. I’m just excited for all these things melding into one cool job.

Q: Being the Children’s Musical Theater’s artistic director is a huge undertaking and obviously your priority, but do you think you will still have the desire to develop works elsewhere, maybe get a reading off the ground in New York, for example?

A: I’m excited to sit in that seat and figure out what that can look like, but usually those projects tend to find me. I am not somebody that is really interested in going from one gig to the next. My employment history is such that I tend to have that place that I am in, and from inside that space, I try to find and nurture as many opportunities for people as I can.

Q: As an artist of color (Alvaro is half Filipino, half Hawaiian), when you think about the organization in terms of equity and diversity, and making sure participating in theater arts is something anyone can have access to, how do you plan to show up in this new role?

A: It’s something I feel like I have faced every single step of the way. I was the only person of color in my MFA class at San Diego State. I know I will be asked to look forward, to find avenues of access for all students, and in particular, the students who might not have found us. I was 100% scholarshipped, and I had to satisfy a certain number of hours in the costume shop or whatever was asked of me. That all connected to the access I was granted and would not have had otherwise.

I was a part of that fabric of the participants that were there and never felt like people were looking at me saying, “Oh, there goes that scholarship kid, there goes that Brown kid.” But rather, I was elevated to playing roles I would never normally play. So I’m absolutely forward thinking about any possible way we can promote diversity, equity and inclusion, especially in a time when these programs are dividing people in America.

Q: Clearly you have thought about how everyone can have access to theater, especially those who traditionally might not have had exposure or access.

A: The organization has a commitment to cast all who audition, and that means all who can afford it and those who cannot, folks who look like me, folks who do not, some who have never participated in musical theater, and others who have done millions of shows.

Q: As an artistic director working with a children’s company, how do you find the line between artistic integrity versus shows you probably shouldn’t be looking to produce?

A: I want to be clear that I’m excited about doing tough things, and if I were to speak to myself as a 17-year-old, I’m excited about producing work that I can be in, that I can or could have participated in without question or qualms. I see CMT as a launching pad for young artists to build confidence, and it comes down to show choice and really understanding the kinds of work you’re producing.

Q: When you think about what’s next in this journey, what excites you the most?

A: I’m excited about putting my own stamp on this position, a role that in many ways I have idolized over the years. Kevin is a total mentor and I’m ready to find things out for myself, both the exciting things and the challenges, and to work through them.