“We are on red alert, where we don’t know what is going to happen, the culture is a little threatened and I hope it is a temporary situation and it will pass. “Let everything return to normal, if there is something that still stands out for us in Argentina, it is our culture,” says Patricia Palmerwhich for the fourth year presents the hit black comedy “Radojka”now with Marcela Kloosterboer in the role he played Cecilia Dopazodirected by Diego Rinaldi.
Written by Fernando Schmidt and Christian Ibarzabal, it tells the story of two women who try to keep an elderly Serbian woman who died, Radojka, “alive” in the freezer in order to continue collecting her salary. Until the plan begins to get out of hand when the dead woman’s son travels to visit her. They debut tomorrow at the Metropolitan Theater. We spoke with Palmer.
Journalist: The thriller is established, what captures you about the genre and what draws the attention of the public?
Patricia Palmer: I am attracted by the adrenaline that leads me to be attentive to the story all the time, hoping to discover the ending and what really happened. That makes the audience in the theater part and complicit in the scene, especially when it is a comedy that is a thriller but you laugh all the time.
Q: What challenge and game did your character involve?
PP: Making Gloria is a little head that is very far from mine, so being able to understand why she does what she does and how it implies having to construct a line of thought that is not in the work nor is it what she says but rather what she thinks, points to be able to say what he says. What she builds mentally to end up acting as she acts. All that prior and construction, the internal mental and emotional is fascinating. It is building a life to be able to live it. There are characters closer to you and you can imagine yourself in that situation, but I can never imagine myself in that of my character Gloria.
Q: How was the rehearsal process and the passage from the text to the stage?
PP: It was fascinating because we started in the middle of the pandemic with Ceciia Dopazo in Pilar outdoors with a mask, with glasses, two meters away and everything with protocol. She helped that context in some way because we became passionate and took a lot of life from doing theater again. We had enough time to do it with Diego Rinaldi who allowed us to play, build, make mistakes.
Q: With the rise of comedy, how does this black comedy or drama fit into the current billboard?
PP: It also has a thriller and a police thriller and since the pandemic it was a success because people had the need to laugh at ugly things and this is the magic recipe for this work, so well written and so well structured that people can’t stop laughing. It also challenges us, humor as an extraordinary vehicle to be able to think out there without realizing it.
Q.: You did seasons with Cecilia Dopazo and now Marcela Kloosterboer arrives, how is this chemistry generated?
PP: I played her mother in “Ilusiones”, Tana, who gave me many awards and satisfaction so we come with chemistry. I saw her in Carlos Paz and I really liked what she did, she chose a very personal path to play Lucía, her character, but I never imagined that we would end up doing it together. I know her when she was little, I love her, so all the chemistry.
Q: How do you see the theater scene in Buenos Aires?
PP: I see it well, four years ago I made Radojka and premiered another comedy with Dan Breitman on March 15, so I see it as substantial, with a lot of proposal, as Buenos Aires is incredibly like. But we are on red alert and the culture is threatened at this moment.
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.
