“In the musicals it was understood that not only technique is enough but that you have to put your soul into it. “Knowing how to dance and sing is not enough, you also have to know how to act.” says Sebastian Pajoniauthor and director of the acclaimed “An Italian tango”, about an original idea Rosana Laudani, Diego Bros and Hector Ferreira. It tells a love story through Italian classics covered in tango in a thriller from the 50s. It can be seen on Thursdays at 9pm at Café La Humedad, Carlos Calvo 2540.
The musical direction is Hugo Hoffmann, and has a live band with the bandoneon Ignacio Claramonte and the battery Roberto Saber. Animated projection by Alejandro Perrotta and Gustavo Glusman. We spoke with Pajoni.
Journalist: How did this peculiar show that links Italian song with tango come about?
Sebastian Pajoni: The stars of the show chose the songs and had the idea of a love story. They added me to the group to write the play so I took it on vacation, I worked on it for a few months and seeing that there was the Italian version of La cumparsita, by Milva, it occurred to me that the love story should not be Italian but rather centralized in the concept of tango and why not cover the rest of the Italian songs in tango. It’s unpublished, something that wasn’t done, so Hugo Hoffman became our musical director and creator of the show’s score.
Q: What is the tone of a musical thriller?
SP: The thriller is all about the story. Most of the themes are from the ’50s and the same are the costume sketches from those years. It is very noticeable from that decade how love debates with justice, as there are always the thief and the detective. Something appeared from the book to tell it cinematically, the romance, the action, it has some eroticism. When I started directing it came the complexity of making it on the screen, which is a 50-minute film made especially for the play, connected to the musicians. Then the choreographic action is coordinated with the animation on the screen. It is a kind of reference to the classic thrillers of the time.
Q: What topics does it address and what story does it tell?
SP: The theme is love and justice, duty. There are two characters who at first seem to be going on a date, then it becomes clear that they do not meet until they meet. They fall in love and everything happens between them. They travel to Florence in Italy, she to commit a robbery and he to have to catch the thief. Until he moved to Buenos Aires and saw the contrast of the ’50s in Europe with the post-war period and the economic rebirth and here the orilleros tango was emerging, it was marginal and the Italian societies took it to the large halls and audiences. of higher class.
Q: How did you work on the artistic areas?
SP: It was a very long process, it started in 2017 before the pandemic, I wrote the work, then we worked, Hugo Hoffman made the score in six months but there were only 4 songs. We were angry but when we heard them our jaws dropped and we gave Huguito all the time he needed. He continued working and Diego Bross began to create the choreographies. While the costumes were being made and the screen was missing. That cost money and we searched, in the meantime I got married in Brazil and my husband, a former volleyball athlete, had an Italian acquaintance who has a tourist villa in Florence so he supported us with the screen. I was able to hire filmmakers to make the audiovisual with a pictorial concept because the work talks about the theft of a painting so they are painted photos. Once we had that, the pandemic came, then we coordinated everything and, not satisfied, we made a work in progress to try out the show. Finally, we premiered last year and now we’re back.
Photos by NACHO LUNADEI (2).jpg
Q: How do you see the scene?
SP: Musical theater has paved the way over the years, it is very powerful, there are very prepared artists, and lately importance is given to acting because before there was a lot of virtuosity in singing and dance but less in acting. It was necessary to have protagonists who knew how to act, today it is understood that it is a whole. Technique alone is not enough, you have to put soul into it. And the independent is always with drive, we sometimes go out for a few months and due to awards and public interest we continue for two years.
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.
