A classic of family theater created by Hugo Midón and with music Carlos Gianni, “Crooked Rights”, which was born 20 years ago and can be seen from the 29th at the Metropolitan Theater.
Celebrating the 80th anniversary of the birth of the great Hugo Midónthis symbol of musical theater returns, made up of two casts of children and young actors between 6 and 16 years old, many of them with experience in great musicals.
The boys were selected in a casting from more than 500 applicants and the leading role of Pocho is in charge of Joaquin Catarineu under the musical direction of Gianni and address of Ariadne Faerstein and Nicolás Alan Medina.
20 years after its creation and 35 years after the Convention on the Rights of the Child, “Crooked Rights” is, according to Gianni, “a work that says a lot with little, that talks about something as important as rights and does so by giving children a voice with songs that combine the simple and profound.” It will be seen on Saturdays and Sundays at 7 p.m. and every day on holidays. We talk with Gianni.
Journalist: How have childhoods been transformed in these 20 years? What were they like yesterday and today?
Carlos Gianni: Childhoods in recent years have been transformed in some aspects and not so much in others. Then and now the boys were intelligent, emotional and deep. But above all, in all eras they were game generators and great players. Obviously they weren’t the same games as right now. Currently, everything technological is around children, to show them a new way to entertain themselves. Regarding theater, nowadays, children have the possibility of preparing much more by studying and training in different activities. And something very important: attention times were changing. In the 80s or 90s the show was designed to last 1 hour 40. Today they don’t last more than an hour ten.
Q.: How to bring theater to children, they seem immersed in technology, how to awaken their imagination?
CG: Although children are immersed in technology, the problem of awakening their imagination depends on the authors and actors of the shows. Something must be mobilized inside them, so that when they leave the theater they continue imagining.
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Q: How do you see theater for children today in relation to when they did it with Midon?
CG: Luckily the theater we did with Hugo Midón remains as relevant today as it was in the premieres. I believe that great artists and creators anticipate their time. Hugo’s works are perhaps more relevant today than when they were created.
Q: What do you miss most about the teacher?
CG: We miss his sensitivity, his ability to imagine things that are as interesting for children as for adults and, above all, the richness of his ideas.
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.
