Interview: Regina Fernandez on the Classic Detective Mystery THE MALTESE FALCON

In this interview, Regina Fernandez shares her insights on performing in The Maltese Falcon, the world‑premiere stage adaptation by Matthew Salazar‑Thompson, based on the classic noir novel by Dashiell Hammett and directed by Todd Nielsen. Running at North Coast Repertory Theatre, the ensemble‑driven production follows the infamous detective Sam Spade as a cast of five actors transforms between roles with quick changes, blending suspense, wit, and theatricality in a hilarious, high-stakes spin on this iconic noir mystery.

Your character is credited simply as “Woman,” yet the production has you transform into several identities. How do you approach developing and differentiating those multiple personas onstage?

The novel is very specific about its characters, and Matthew Salazar-Thompson’s adaptation gives “Woman” two very distinct identities. Effie is Sam Spade’s bestie, the person he can always count on. She’s sweet, loyal, and light. I approach her as buoyant and colorful; our Costume Designer even put her in purple so she literally has more color than anyone else onstage.

Then there’s Iva, who is the complete opposite. She’s darker and more dramatic like a femme fatale. I like to think of her in the Glenn Close “Fatal Attraction” vein. Watching actresses in classic film noir has helped me shape that character, especially the tone and the Transatlantic accent.

It’s fun to create those characters yourself and then bring them to the table with the rest of the ensemble. Everyone else plays multiple roles too. That’s part of the joy of Matthew’s script — the theatricality and the comedy he brings to it.

What has been the most fun and the most challenging part of navigating that physical and emotional versatility with such rapid character changes?

The most fun part has definitely been the physicality. As an actor, you start asking yourself: how does this person sit? How do they speak? How do they hold themselves? It’s about creating a completely different picture for each character.

The trickiest part is the speed. At one point I have only one line between playing Iva and Effie, which means a lightning-fast costume and character switch. That pacing really keeps you on your toes. Plus, it’s such a joy to play several different people. It brings you back to being a kid, where no idea is off-limits and imagination leads the way.

The audience is playing too; we all get to participate in the storytelling together. Especially right now, when so much is going on in the world, theatre gives us a chance to step away for a moment and connect with each other. There’s something incredibly cathartic about sitting in a room and laughing together.
 

Can you share a bit about your artistic background and training? How has your previous work prepared you for a fast-paced, character-driven piece like this?

My most recent show was Peter Pan Goes Wrong at La Mirada Theatre, where I played Sandra. It’s a very fast-paced comedy with lots of technical elements. Before that, I played Florence in The Play That Goes Wrong, also at La Mirada. Those productions really train you to think quickly and stay flexible onstage. I’ve also worked with the Oregon Shakespeare Festival, and much of the work I’ve done has involved playing multiple characters in a single production. 

I love working in smaller ensembles where actors create the world of the story together. It reminds me of the Royal Shakespeare Company style of storytelling — the company builds the piece as a group. 
 

What draws you personally to a show like The Maltese Falcon, especially this adaptation that leans into ensemble work and theatricality?

When I was growing up, I was pretty sheltered. I spent a lot of time watching classic Hollywood films and musicals. So when I found out that North Coast Rep was doing The Maltese Falcon, I was really excited by the idea of stepping into that film noir world. Getting to play a heroine in that style onstage was a huge draw.

It’s also such a famous title. The story recently entered the public domain, and audiences are really curious about it. We sold out the first week of performances, which shows how much people still love this story.

For audiences who know The Maltese Falcon from film or literature, what makes seeing it live onstage different?

What surprised me most was how funny it is. I didn’t expect to laugh as much as I did when I first read the script.

The original story is dark and gritty, and the film leans heavily into that drama. But when you bring it onstage, especially in this style, the contrast makes it even funnier. Matthew’s adaptation keeps the essence of The Maltese Falcon, but dials everything up several notches and infuses it with a huge sense of joy.

It’s still true to the spirit of the story, but it’s also wildly entertaining.
 

For someone who doesn’t know the story, how would you describe The Maltese Falcon in three words?

Classic detective mystery!

It’s the quintessential film noir story. The famous 1941 film starred Humphrey Bogart as Sam Spade, the tough private investigator trying to unravel a complicated case. In our production, Richard Baird — who plays Spade — really captures that heroic detective energy, though as he puts it, even a knight in shining armor isn’t always perfectly polished.

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