“Interviú”, Mario Diata, is released, with Ester Goris

“The theater in Buenos Aires is a unique phenomenon, superior in quantity and variety than that of such theatrical cities as New York and Paris. At the same time we have suffered a succession of ignorant governments that do not understand the importance of theater and culture,” says Mario Diamentauthor of “Interview”, that after representing several times in Argentina and other countries, even in spoken versions in English, returns to Corrientes Street with the protagonist of Ester Goris, under the direction of Pablo Gorlero.

Along with Mauro Francisco, The play debuts at the Picadilly Theater next Wednesday at 20:30. The story revolves around an Argentine cinema diva whose fame has transcended the borders, until it disappears in mysterious circumstances when he is in the zenith of his career. Twenty years later, an ambitious journalist discovers her living in a Hotel in Miami and manages to convince her to grant her an interview. We talked with Diatment

Journalist: How did the story appear? What or who was inspired to write about a diva that disappears in mysterious circumstances?

Mario Diamento: You never know exactly how an idea appears, but the closest to the origin of “Interviú” was an interview that I did Berta Singerman years ago. She was a legendary actress and recitative, probably the most famous Spanish -speaking reciter and lived in an apartment that looked like a museum, with the walls covered with portraits of it painted by renowned artists.

Q.: How is that cat and mouse game between the journalist and the diva?

MD: The central idea of ​​”Interviú” is to oppose a journalist desperate to obtain a scoop, with a diva of the past that has intense resentment with the press. That’s where the fun and almost say, bizarre, cat and mouse.

Q.: It is a thriller with humor and twists, there were several on a poster very successfully like “Radojka” or “Veronica’s room”, what do you think it catches the public?

MD: The “Interviú” key is that nothing is what it seems. There is even a mysterious body that does not know how it came. In short, the work is a parody of the black police and I think that is what catches the public. The work premiered in San Martín with Alicia Aller, a wonderful comedian and then there was a second version with María Concepción César. In the United States there were three versions, two in English and the third in Spanish, which was made last year with Lupita Ferrer and had an extraordinary success. In Romania, Maia Morgenstern, the most notable actress in the country, winner of the European Theater Award, who kept her on a poster for 13 years and took her on a tour of Germany, London and Canada.

Q.: How do you see Argentine dramaturgy, new authors and consecrated? What room do Argentine authors have on the billboard?

MD: I confess that I hardly saw Argentine theater. When I come to Buenos Aires I do it for some imminent premiere and I am so wrapped in the trials that I have no time for anything else. On this occasion, I have five works on the poster, so I think there is a lot of place to the Argentines.

Q.: How do you see theater and culture?

MD: The theater in Buenos Aires is a unique phenomenon, superior in quantity and variety than that of such theatrical cities as New York and Paris. At the same time we have suffered a succession of ignorant governments that do not understand the importance of theater and culture. But people do understand, that’s why the rooms continue to work despite the crisis. I always thought that a government that knew how to value culture, although it is nothing more than as a strategy, would gain unusual popularity. But politicians – and I make little trend distinction – are so mediocre that they don’t even know how to recognize what benefits them.