Journalist: To what do you attribute this success?
Grace Tenenbaum: Laughter produces something spontaneous in the audience, people don’t laugh easily. The applause can be protocol, because the work ends and out of respect there is applause, but laughter is not easy to achieve when it is authentic. It’s difficult to do comedy because it doesn’t have the timing of a dramatic work. If the auction does not arrive at the right time or the correct silence is not made, it falls.
Q.: You went through film and TV, what is special about theater for an actor?
GT: The repetition. Many ask how to always repeat the same text and you have to be present in the situation, live it as if it were the first time. The theater, not being a finished show like television or cinema, is pure present, what happens at that moment happens. A colleague can forget the lyrics, something can fall, a technician doesn’t turn on a light or the microphone doesn’t work, and for that you have to be very present.
Q.: What can you say about the themes that the work leads to reflection beyond the fact that its main objective is to entertain?
GT: The themes produce an immediate identification. If it didn’t happen to you, it happened to someone you know. These symbiotic relationships that can become toxic, although of course with love, because parents do the best for their children and it is the most unconditional relationship, in my opinion. There is jealousy, possession, a son who has lived with his mother for 43 years and is afraid of introducing him to his girlfriend, so he lies to both one and the other. This triangle reflects relationships, how healthy they can be, how one can improve oneself, how one can open one’s heart and be a better person, things that are not said but hidden. Any show is completed with the public, so once you enter the code, everything is done, the spectator is inside and with you.
Q.: It is a summer of more reruns than premieres ahead of the strong season, how do you see the offer in theater?
GT: Actors today do not have national fiction but platforms, so we go out to do theater, which we love. On stage it is the show where silence, laughter, communion that is established directly with the public come together, like in no other setting. On TV there are the technicians or the director, the pace of work is more dizzying, or on film the wait is longer, but the theater is pure present. There is theater for everyone, I think there is good or bad theater, be it alternative or commercial. The offer is enormous and there is an audience for everything.
Q.: How did the public respond from the return of face-to-face with reduced capacity to the present?
GT: People came with chinstraps and laughter was heard. The public always responded, that was the fear, going back to the theater was a challenge, we were the first to close and the last to open. The public wants to see the actors live and thanks to word of mouth and the recommendation we were filling up and staying, that is the most gratifying.
Q.: She proved to be an excellent actress and comedian that the public saw more on film or TV than on stage, why?
GT: Producers often look for renowned actresses to attract more viewers, and that is not a guarantee of success either because the theater is unpredictable. Here we had to combine three character stereotypes and achieve alchemy to be able to tell the story.
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.