“We producers must continue producing in Argentina and at the same time give local actors the possibility of working abroad,” says Carla Calabresedirector of “Come from away”, which returns to the Maipo theater on Friday, before opening in Spain.
In this way it becomes the first Argentine musical theater production chosen to be presented in Spain, made and represented by Argentines, with more than 30 artists on stage.
But before going to Europe in September, “Come from away” says goodbye to Buenos Aires, with production by The Stage Company, Calabrese and Enrique Piñeyro, and a creative team made up of Sergio Albertoni as production manager, Santiago Rosso as musical director, Sebastian Mazzoni as vocal director, Agustín Pérez Costa as choreographic director, Tadeo Jones as art and set director and Witis Duck as assistant director, in addition to the 15 actors and band of live musicians. We talk with Calabrese.
Journalist: Why do you think that in Spain they chose the Argentine staging of this musical of Canadian origin?
Carla Calabrese: When the author came he loved our performance, he understood that everything worked, he liked it from the musical to the acting, he was impressed at that moment and when he saw it he was delighted that we did it in Spain. Marcelo Cotliar is great at adapting to Spanish and that is key for a musical to work. The quality we have to get ourselves together and make things work is great, I feel that our performance has nothing to envy of that of Broadway. The authors noticed that and saw that everything worked, so they wanted those qualities beyond the country. They chose production, adaptation and directions from colleagues because they saw the quality, love, dedication and professionalism.
Q: How is the work redefined today in this context of war and anti-Semitism?
DC: When it premiered it was a different time, it was 2022, although there are always wars in the world, the pandemic was emerging. Now there is a resurgence of violence in Argentina and the world. There are many scenes from “Come from away” that are going to be illuminated and acquire another dimension. The scene of religions, of hate and love, the question of where we stand in the world as human beings, that scene is connected with antiterrorism and what is happening in the Gaza Strip, the dehumanization that exists has distressed the world that He doesn’t know how to help children and civilians. The work speaks a lot about territorialities and political decisions, what can save us as humanity, empathy.
Q: How is it produced in Spain?
DC: I apply my way of producing with talented and good people, who know where to tell the story from. The way in which a performance is put together has to do with the same values that the work transmits. I don’t know many producers in Spain but I base myself on how I produced here, I adapt to their times and idiosyncrasies, but I wouldn’t change the way of producing and treating the team. I don’t think about economic returns as a premise because I don’t know how things are going to go, it’s a gamble. We producers must not stop producing in Argentina, which is essential to reactivate the industry, and if we can give talented Argentine people the opportunity to work abroad, we must also do so. I know that it is a moment in the world when this story manages to change perspective and move emotions.
Q: What did you see in Spain on a musical level?
DC: I saw Billy Eliot, it had extraordinary quality, there are many Argentines working there and I feel that Madrid is the capital of theater in the Spanish language. That staging was wonderful in Alcalá. I didn’t see “Matilda” there, I saw “The Show That Goes Wrong,” I liked it a lot. Also “The Phantom of the Opera” with many Argentines, so very happy to be part of that scene that is the mecca.
Q: How do you see the Argentine scene in this adverse context of economic cuts?
DC: Culture is fundamental and we are a mecca of theater in Spanish, the public comes from abroad to see theater, the three circuits are abundant and excellent, but some works are very expensive and there are actors who are out of work. I chose from the management to give my cast the opportunity to work outside for a while, they deserve it, there are fewer productions now and we have to support Argentine talents. I hope that this situation will change and there will be more theaters and plays without having to cut the budget. We are very good at finding ways to produce because it is difficult, I wish that that would be reactivated and we would have the theater that we deserve. Countries with economic crises are the ones that need good theater the most. Theater is where we identify and believe again, especially in countries that have a hard time. More than the developed ones. Theater helps us see ourselves as a society.
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.
