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She, thus, is a product of and experienced first hand the heterogeneous, hybrid, nature of Mexican culture. Hadad avails herself of the humorous sociopolitical criticism of cabaret, carpa, and teatro de revista [3] --important theatrical styles in Mexican cultural history.
As a woman who has internalized and displays Lebanese, Mayan, and Afro-Caribbean cultural markers, Hadad simultaneously represents, deconstructs, and reinscribes the exotic Other. Her teachers, quite dismayed at her ideas of mixing cabaret-style singing and carpa and revista sketches with traditional theatre, tried to convince her to come to her senses and study directing.
In these cycles, one week Hadad would direct, another she acted, then she designed and constructed scenery, worked lights, and so on, giving her broad experience in theatre production. The overwhelmingly positive audience response to the innovation dramatic readings were not usually staged with props and scenery as well as the criticism from the theatre establishment convinced Hadad of two things: that the public was open to different theatrical experiences, and that she would work independently of the theatre establishment.
She acted in a few telenovelas Mexican soap operas and debuted in commercial cinema in the successful Mexican film Sola con tu pareja Alone with your partner. The influences of Mexican musical traditions, of Mexican and German cabaret which she went Germany to observe , and of the style of the Divas manifest themselves in her early works.
