Member Profiles

Alana Arenas

Biography

Alana Arenas joined the Steppenwolf Theatre Company ensemble in 2007 and created the role of Pecola Breedlove for the Steppenwolf for Young Adults production of The Bluest Eye, which also played at the New Victory Theater off Broadway. She recently appeared in Belleville, Head of Passes, Good People, Three Sisters, The March, Man in Love, Middletown, The Hot L Baltimore, The Etiquette of Vigilance, The Brother/Sister Plays (Steppenwolf Theatre Company); Disgraced (American Theater Company); and The Arabian Nights (Lookingglass Theatre Company, Berkeley Repertory Theatre and Kansas City Repertory Theatre). Other theater credits include The Tempest, The Crucible, Spare Change, The Sparrow Project (Steppenwolf Theatre Company); Black Diamond (Lookingglass Theatre Company); Eyes (eta Creative Arts); SOST (MPAACT); WVON (Black Ensemble Theater); and Hecuba (Chicago Shakespeare Theater). Television and film credits include Boss, The Beast, Kabuku Rides and Lioness of Lisabi. She is originally from Miami, Florida where she began her training at the New World School of the Arts. Alana holds a BFA from The Theatre School at DePaul University.

Watch & Listen

  1. The Bluest Eye

    The Bluest Eye

  2. The Sparrow Project

    The Sparrow Project

  3. The Crucible in Rehearsal

    The Crucible in Rehearsal

  4. The Crucible in Production

    The Crucible in Production

  5. SYA Teen Super Summer Theatre Workshops

    SYA Teen Super Summer Theatre Workshops

  6. Dream Chicago

    Dream Chicago

  7. Donor Cast Party for The Tempest

    Donor Cast Party for The Tempest

  8. The Tempest in Rehearsal

    The Tempest in Rehearsal

  9. The Tempest in Production

    The Tempest in Production

  10. Red or White Ball 2009

    Red or White Ball 2009

  11. The Brother/Sister Plays in Rehearsal

    The Brother/Sister Plays in Rehearsal

  12. In the Red and Brown Water in Production

    In the Red and Brown Water in Production

  13. The Brothers Size/Marcus; Or the Secret of Sweet in Production

    The Brothers Size/Marcus; Or the Secret of Sweet in Production

  14. Behind the Scenes at The Brother/Sister Plays B-Roll Shoot

    Behind the Scenes at The Brother/Sister Plays B-Roll Shoot

  15. The Brother/Sister Plays on Storytelling

    The Brother/Sister Plays on Storytelling

  16. A Select Scene from The Brother/Sister Plays: Scene 1

    A Select Scene from The Brother/Sister Plays: Scene 1

  17. A Select Scene from The Brother/Sister Plays: Scene 2

    A Select Scene from The Brother/Sister Plays: Scene 2

  18. A Select Scene from The Brother/Sister Plays: Scene 4

    A Select Scene from The Brother/Sister Plays: Scene 4

  19. Ensemble Conversations: Alana Arenas

    Ensemble Conversations: Alana Arenas

  20. First Look: The Plays

    First Look: The Plays

  21. The Etiquette of Vigilance in Rehearsal

    The Etiquette of Vigilance in Rehearsal

  22. Elevator Speech: The Etiquette of Vigilance

    Elevator Speech: The Etiquette of Vigilance

  23. The Etiquette of Vigilance in Production

    The Etiquette of Vigilance in Production

  24. Hot L Baltimore in Rehearsal

    Hot L Baltimore in Rehearsal

  25. Hot L Baltimore in Production

    Hot L Baltimore in Production

  26. Tina Landau Directs Hot L Baltimore

    Tina Landau Directs Hot L Baltimore

  27. Frank Galati adapts and directs The March

    Frank Galati adapts and directs The March

  28. The Scene: Hot L Baltimore

    The Scene: Hot L Baltimore

  29. Hot L Baltimore Audience Response

    Hot L Baltimore Audience Response

  30. Middletown in Rehearsal

    Middletown in Rehearsal

  31. Middletown Trailer

    Middletown Trailer

  32. Middletown in Production

    Middletown in Production

  33. Middletown Audience Response

    Middletown Audience Response

  34. In the Middle of Middletown

    In the Middle of Middletown

  35. First Look Teaser

    First Look Teaser

  36. First Look

    First Look's Man in Love in Rehearsal

  37. First Look

    First Look's Man in Love in Production

  38. Meet the Playwrights of First Look

    Meet the Playwrights of First Look

  39. The March in Rehearsal

    The March in Rehearsal

  40. The March In Production

    The March In Production

  41. The March Teaser

    The March Teaser

  42. Inside The March

    Inside The March

  43. Three Sisters in Rehearsal

    Three Sisters in Rehearsal

  44. Three Sisters in Production

    Three Sisters in Production

  45. <i>THREE SISTERS</i> Audience Response

    THREE SISTERS Audience Response

  46. Season Trailer 2012/13

    Season Trailer 2012/13

  47. Mainstage Debuts in <i>THREE SISTERS</i>

    Mainstage Debuts in THREE SISTERS

  48. Good People in Rehearsal

    Good People in Rehearsal

  49. <i>GOOD PEOPLE</i> Teaser

    GOOD PEOPLE Teaser

  50. Good People in Production

    Good People in Production

  51. <i>GOOD PEOPLE</i> Audience Response

    GOOD PEOPLE Audience Response

  52. <i>HEAD OF PASSES</i> in Rehearsal

    HEAD OF PASSES in Rehearsal

  53. <i>HEAD OF PASSES</i> in Production

    HEAD OF PASSES in Production

  54. <i>HEAD OF PASSES</i> Audience Reaction Video

    HEAD OF PASSES Audience Reaction Video

  55. <i>HEAD OF PASSES</i> Montage

    HEAD OF PASSES Montage

  56. <i>BELLEVILLE</i> in Rehearsal

    BELLEVILLE in Rehearsal

  57. <i>BELLEVILLE</i> - Trailer

    BELLEVILLE - Trailer

  58. 2013/14 Season: <i>TRIBES</i>

    2013/14 Season: TRIBES

  59. <i>BELLEVILLE</i> in Production

    BELLEVILLE in Production

  60. <i>BELLEVILLE</i> - Audience Reaction Video

    BELLEVILLE - Audience Reaction Video

  61. <i>TRIBES</i> in Rehearsal

    TRIBES in Rehearsal

  62. <i>TRIBES</i> in Production

    TRIBES in Production

  63. <i>TRIBES</i> - Trailer

    TRIBES - Trailer

  64. <i>TRIBES</i> - Audience Response

    TRIBES - Audience Response

  65. NINA RAINE ON <i>TRIBES</i>

    NINA RAINE ON TRIBES

Q & A With Alana Arenas

How did becoming a Steppenwolf ensemble member change your career?
It dramatically changed, because one of the things about acting is that it’s a very, very unpredictable lifestyle and being a company member somewhere, having an artistic home, it’s nice because there’s an opportunity for you to always see theater. Especially in my company, there’s a lot of people there that I look up to, that I admire, so there’s an opportunity to always be inspired to do better and be sort of fed, artistically, and I have to say that my company has also been very generous with offering me roles, so it’s been a really huge benefit to me.

How is it working with ensemble members Tracy Letts and Anna Shapiro as a team?
I feel like working with Tracy and Anna is—you are on the US Olympic team for theater. You are working with champs. There was actually a point in the process where I thought, ‘You could give them anything and it would be amazing.’ If they’re in the room together it doesn’t matter what play it is, they’re going to ride you, encourage you, inspire you to give the audience an experience that is human, that is true. These are people who are really approaching the work with an extreme amount of passion and respect for the art and for the craft. So these aren’t people who are O.K. with ‘Well, we’ll throw up this play in time and then it’s O.K. if everything doesn’t work out.’ These are people who are striving not for it just to work out, but for it to work out well. And they inspire you to do the same.

Credits & Awards


Film

Te Lioness of Lisabi, Kubuku Rides (This Is It)

Theatre

Arabian Nights (Berkley Rep and Kansas City Rep), Hecuba (Chicago Shakespeare Theatre), Late Bus to Mecca (Eclipse), Black Diamond, Eyes, The Way We Were, WVON, A Midsummer Night’s Dream, Love’s Labour’s Lost, SOST, Notes from the Bottletree and Final Angel.

Television

The Beast