Carla Calabrese is the producer and director of the Broadway musical “Eat from Away” That after its performance at the Machine Theater in Madrid for 6 months today returns to the Maipo Theater with 30 artists on stage, 15 actors who sing and dance accompanied by a band of live musicians.
“Our theater resists everything and our artists have an unwavering resilience and natural talent,” says Carla Calabreseproducer and director of the Broadway musical “Eat from Away” That after its performance at the Machine Theater in Madrid for 6 months it returns to the Maipo Theater this Friday with 30 artists on stage, 15 actors who sing and dance accompanied by a band of live musicians. Gabriela Bevacqua, Calabrese, Fede Couts, Sebastián Holz, Mela Lenoir, Fernando Margenet, Argentine Molinuevo, Edgardo Moreira, Silvina Nieto, Agustín Perez Cost Maximiliano Cataldi, Natacha Tello, Juan Denari, Paula Solange Morales, Pablo Mengo and Luis Lattanzi. The remarkable is added from today Lucila Gandolfo.
Carla Calabrese with Lucila Gandolfo that joins CFA as Diane (1) .jpg
It tells the real history of 9/11, after the attack on the twin towers seven thousand passengers from all over the world were diverted from their flights and ended up landing on an island in Canada remaining stranded for five days in Gander, Newfoundland in the Canadian province of Terranova. From this event their lives changed forever as also the universe of that little town. The production of The Stage Company He was responsible for theatrical successes as “The curious incident of the dog at midnight”, “Shrek, the musical” and “Consent”, inter alia. We talked with Calabrese.
Journalist: What awards did the work win?
Carla Calabrese: In Broadway, “Come from Away” remained 7 years and had many nominations. He won 1 Tony Award, 2 Drama Desk and one of the most important, an Emmy for music. In Argentina, our production had 24 nominations for the most important awards and all the items were recognized, we won 2 awards one for better musical and one for the best direction for me and 7 Hugo Dos Awards in the same items that rewarded the ACE and the other five were for the best production The Stage Company Maip Molinuevo)
Q.: Some say it is a work about something foreign and distant, how do you connect it with the local and the same?
DC: I think those who say that still did not see her. While the real story occurred in Canada, the content of the story is not alien, there is nothing distant in the world in which we live today. These are stories that belong to us as humanity, it is about the solidarity of a people of finding light in the dark. These issues are never alien as they are not or should not be the wars, although they occur thousands of kilometers away. We cannot no longer recognize ourselves as humanity and that we are interdependent as race and as civilization
Q.: What catches the public most and what differences can you mark between the Spanish and the Argentine public?
DC: I think that what catches the most is the power of history that with an agility that is already embodied from the dramaturgy reaches the public from minute one and takes the viewer in a roller coaster of emotions, from the beginning to the end. In addition, the emotion enhanced by music and the truth of a real story gives him immediate magnetism.
Q.: How do you see today the production of theater in Argentina and the musical comedy in particular? How can you contrast it with Madrid?
DC: In Argentina, the quantity and clarity of musical productions is immense, here we have a more extensive billboard and more theaters so we can enjoy more works, we have more experience in Argentina in making musical and that shows in all items. Spain is gradually transforming one of the main places where Broadway works can be seen in Spanish and the demand for theaters and productions in Madrid grows more and more. We are very similar and there are many Argentines contributing experience in all items and working in musicals in Spain a long time ago.
Q.: How do you see theater and culture today in our country?
DC: I feel that our theater resists everything. That our artists have an unwavering resilience and natural talent that have been sustained before all economic adversity with effort and passion. You have to continue fighting to maintain our cultural level in every way. The countries with more economic crises are the ones that need to have their art alive, to share emotions, to think, reflect, identify, vibrate and evolve
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
