Barceló con Hielo, NY Times theater review by Anita Gates, August 26, 2014

“The second ghost is Jaston, a rather majestic Haitian-born army officer. Majestic, at least, as played by Indio Melendez. I was disappointed to learn that he and Pietro Gonzalez, whom I saw as Balaguer, were filling in for other actors that night. They seemed so perfectly physically suited to their characters.”




Interview – Indio Melendez of “Indiosyncrasy”, Gay Theatre NYC Review, by Byrne Harrison, April 15, 2011

“Actor and writer Indio Melendez was born and raised in New York City. He was the recipient of the ‘2008 H.O.L.A. Award’ for ensemble cast in Dona Flor Y Sus Dos Marido, which enjoyed a healthy run at the Spanish Repertory Theater. Other notable performances include his portrayal of Miguel in The Vieques at the Spanish Repertory Theater, for which he was recognized with a ‘2001 Latin Ace Award’ Nomination. More recently, his one man show, Manchild Dilemma, was also again recognized for excellence, earning Indio a ‘2007 Premios Sin Limites Award Nomination’.”


poyo in the palm of your handsIndiosyncrasy, review by Richard Hinojosa, September 19, 2008

Indiosyncrasy is a lyrical and visual journey that is both personal and spiritual. Melendez delivers a lot of energy along with a provocative message that most of us need to be reminded of. One of the most important things he shows us is that while we all have idiosyncrasies, we are also all united in our humanity.”


Towards a Hip-Hop Aesthetic: A Manifesto for the Hip-Hop Arts Movement, by Danny Hoch, September 8, 2006

“It is a huge misconception to think that hip-hop theatre means doing a rap music version of A Midsummer Night’s Dream, or that hip-hop theatre must have any one of the hip- hop elements, flava of the day 3for that matter. In 2002, for example, the festival received a curious complaint that Indio Melendez’s piece Manchild Dilemma did not belong in hip-hop theatre, because he didn’t rap or breakdance in it. His piece was about a Latino kid who joins the army to get away from his mother and inadvertently gets sent to Operation Desert Storm in 1991…All of the language, references, locales, contexts and the story reflected dilemmas of the hip-hop generation; it didn’t need any of the four elements of hip-hop to qualify as a ‘hip-hop generation play.’ And it was a great piece of theatre. It belonged in our festival, just as it belongs on the main stage of every theatre in the country.”