The year of musicals: “passport” is released

“The musical format usually sends to a more frivolous and superficial thing, it is good that you have the depth of certain themes with depth,” says Fabio Aste, who integrates the cast of the musical “Passport”, that premieres on April 7 at the Picadilly.

It is a musical written and directed by Nicolás Alan Medina and Delfina Jorge, With original music from Facundo Cicciu that combines philosophy, humor and a history of transformation. The work tells the story of a young woman who is about to change her destiny when, just 24 hours after taking her flight to Madrid, her passport disappears. The cast is completed with Rosario Cabrera Martínez, Ignacio Vidiri Florencia Rómere, Becco Agos, Francisca Pinheiro and Federico Heinrich. We talked with Aste.

Journalist: How is this musical gender show contains philosophy?

Fabio Aste: He is focused on a philosophy student who decides to travel to Spain to find himself, he also has to prepare a thesis. He loses his passport and in this search until he went to Europe and even being there he toured all the central characters of his life. Her girlfriend, her friend in love with her, her mother, her stepfather, the character I do, who is a symbolic father for her. Philosophy crosses the entire work because she identifies these characters with different philosophers and explains why. It is a trip to its interior, of personal transformation and search, crosses the puddle and the links are also transformed.

Q.: How is this transformation about a past that ties it and a future that awaits it?

FA: This trip implies an important change because it takes distance from those referents, manages to modify some before the trip as their relationship with the stepfather that I embody, a character who was away for many years. The past that ties is related to that friend who was always in love with her and who could not take off at all, that girlfriend who left her but returns again and again to look for her, that possessive mother clinging to the structures of the past and who is afraid to raise flight, transmitting those fears to her daughter. The trip causes her to transmute all those links. From the setting we can expect something new, fun, with a lot of humor, emotion, depth, flight and modern.

Q.: Musicals tend to address deep issues such as “Dear Evan”, “Almost normal”, “The midnight dog”, “Come from Away” or “Almost normal.” Why do you think musicals explore these topics?

FA: I find it interesting that that happens. The format of the musical that usually sends to a more frivolous and superficial thing, is good that combine the sung melody, music, instrumental and depth of certain themes with depth. I participated in some of those musicals and my head departs. I like the musical when it covers deeply, when the spoken and sung voice has the same weight, the same emotion, the same transmission capacity and vocal virtuosism supports what it is telling, it is not a space of pure ego and show the efficiency of the vocal strings to the public but is a continuity of the spoken voice and the character that has been saying a text and embodying a story. I like those musicals. I don’t know why it happens but juxtaposition between something playful and the depth between these issues are interesting. It is an easy way to address certain issues that would otherwise be more painful, strong and difficult to digest.

Q.: How do you see the scene of small and large format musicals?

FA: Very good, there is a lot of proposal, of large and independent, low, medium and high budget. I love that strong songs are addressed through musicals and that they are done with all kinds of pocket. That there are different formats of artistic expression and in different spaces. It will be a very prolific year in musical.