Thus, like Rodolfo Tilli, he was hooked one day to work as an extra in a theatrical version of “Fuenteovejuna” in a theater in Morón. There he discovered the atmosphere, the smell of the tables, the warm shadows behind the stage, the emotion and fear before the public. The applause, on the other hand, made him a little uncomfortable. He was reunited with his father, took his name, studied, progressed until he joined the National Comedy at the Cervantes Theater. It had started at the end of the 50s. In the mid-60s he became completely famous, for his role as a leading man in a telenovela of recognizable quality: “Love has a woman’s face”, by Nené Cascallar, and at the end of that decade the consecration in the very popular “Malevo”, in the role of a compadrito. Records were soon added (Neruda’s “Poema 20”, a reduction of “Platero y yo”, etc.) and cinema: in 1972 he played Juan Manuel de Rosas in the homonymous film by Manuel Antín, and a year later he reached the cusp with Leonardo Favio’s “Juan Moreira”, a sort of sanctification of a gaucho forced to become a committee thug. There the photograph of Juan Carlos Desanzo captured like no other the anger, anguish and sadness that could be in Bebán’s eyes.
The children were also arriving (one with the model Liz Amaral, two with Claudia Lapacó, three with Gabriela Gili), widowhood, the greatest challenges, the gradual calming down after almost half a century of work, the great almost farewell piece, “Philosophy of life”, with another great, Alfredo Alcón, and Claudia Lapacó, in the 2011 season. Then, quietly, the retreat began. There is no one to replace him.
Source: Ambito
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