“The widows follow me, I have come from” Black Widows “, an exit that broke everything, and now I am with Nora Cárpena, the widow of my first producer Guillermo Bredeston, with whom I debuted on Corrientes Street. At that time I had chosen Moria, the One, I had said ´La Cordobesita vel. says María Fernanda Callejónwho stars “Widow and daughters”, along with Nora Cárpena (the widow), María Valenzuela (the lawyer), Sofia Gala Castiglione, and Gonzalo Urtizberea (The deceased).
The work debuted the weekend at Multitabaris and is written by Alfonso Paso JRadapted and directed by Héctor Díaz. It is about an ex-lyric manager and his two daughters who present themselves in the study of a lawyer to listen to the latest wills of the late father. We talked with Alley.
Journalist: What attracted you to this project that prays “until the inheritance separates us”?
María Fernanda Callejón: I was attracted to everything from the Spanish authors, the direction of the great actor Héctor Díaz who today directs important works but the most emotional thing was when Tomás Rottemberg called me, whom I know about Chiquito. My first producers were Carlos Rot weather and Guillermo Bredeston, my first job in the theater was in the ´80 where Moria chosen me in the audition at the Tabarís Theater. It was the debut of the Botton Tap with Pachano. Moria and “La Lechuituita”, Zulma Fayad, joined for the first time after a media fight. The One said that the Cordoba, that is, sold. It was my first nude. From there I went to work with Porcel on Channel 9 and starred 15 years on Corrientes Street. I never left the circuit, there was intermittency for motherhood and today I step on that theater, with the children of those great producers and I have Sofia Galá as a companion, whom I met when I had just been born.
Q.: How are these characters?
MF.C.: Mine is a round character, the antithesis to what I do in the series “Black Widows”, is a psychologist, perfect daughter, mother’s baby, I have my things with my sister, I make Mom Puérapera already at the same time I take great care of my mother a former lyric singer. It is a choral cast, we never leave the scene. It is the return of Nora Cárpena and María Valenzuela, and Moria is like a sun, although we do not see her. We are all the generations up there, with Sofia, and Gonzalo Urtizberea.
Q.: What other issues appear in the work?
MFC: Death and inheritance are the great triggers but I see links. We all have different, friendship, family or people that you just know, when some crazy things happen, the masks fall, it is a white comedy of great laughter, very mysterious that borders the absurdity and it is impossible that the public does not identify. There are doubts, you are going to laugh, you will deepen, it is that we are an absurd walking. If we had a Truman Show or Big Brother in tow, there are many follies that would be seen. And the marquee paints it, it is very almodovarian, with everything that encloses death. It is very cultural as it is taken. In other countries, death is celebrated, there are people who want to be buried, others cremated, a context that summons us.
Q.: What ends up being more important, power, money or family?
MFC: Inheritance is a right, another thing is to die pending an inheritance. I give value to money, they tell us that it is bad to ambition but want to have money why not. The money does not make happiness but it helps, I care about the links, you go with that not with money. If you inherit better, but neither does the extreme as I heard so many times “how I would like these old women to die like this.” I do not go behind the inheritance, when something happens I will take it in the best way, I will try to make it healthy and in peace.
Q.: How do you see theater and culture today?
MFC: Corrientes Street I see it exploited as theater, the industry is betting and we continue to resist so that culture continues, because it is what allows us to demonstrate our idiosyncrasy, as we live and think. As Pinti said, governments pass and the artists remain, that they do not make us believe that we are nobody. Being able to get on stage and make people laugh a little is of enormous satisfaction. Today we pour more than ever, we are dizzy seeing where the new spaces are. This government is not accompanying us, the previous one was also releasing our hand, so I thank the producers who continue to bet strongly so that the industry is still standing, there are no minor genres, all sum, platforms, cinema, TV and theater, that is culture.
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.
