In the early 90s, at just over 30 years old, Antonio Banderas He made a one-way trip to the United States that turned into a successful international career. That young actor is today, also, a prestigious cultural manager and promoter, with … an indisputable commitment to the arts and to the promotion of his land.
—What are the main differences that you see in our country since you left for Hollywood?
—The Spain that I left was shedding its skin and changing color. It left black and white, to give way to a whole range of colors, those of the 90s movement. The country woke up to a new reality in all areas: political, social, educational, cultural… An important part of those changes I experienced them from another continent and since I was not here, I discovered them every time I returned. Now I do live in Spain, although I travel constantly. Undoubtedly, it is a very different Spain from the one I left.
—What would you say to young people whose aspirational references are on viral content platforms?
—That achieving success or achieving the dreams that are pursued is not achieved from what is ephemeral or superficial. You have to work very hard and focus your attention on what you want to achieve. It is dangerous to educate young people in the culture of the immediate because everything is achieved with effort and perseverance. You have to dedicate time to things, deepen your learning and be aware and constant, for the sake of a job well done. That is my maxim, if I don’t do things seeking excellence, I prefer not to do them. The Soho Caixabank Theatre, my most vital project, is exactly that, the search for success through excellence.
—What do you expect from the ambitious Sohrlin Andalucía project with which you are so involved?
—It is a project that is being developed and that is going to be a before and after for the cultural offer of Malaga, Andalusia and Spain. Domingo Merlín, a highly recognized professional in the field of large shows, is my other half in this adventure that aims to recover the unique space of an old factory in front of the Mediterranean. The idea is to dedicate it to the creation, production, training, exhibition and distribution of performing arts and cultural entertainment with international projection.
—Do we promote our heritage and wealth enough internationally?
—From my field of work I always keep in mind the international dimension of my projects. Both El Teatro del Soho Caixabank and Espacio Sohrlin are an example of this interest in promoting Spanish culture and heritage, beyond our borders. The richness and variety of our culture is an example of everything that Spain can contribute to the world from all areas: culture, sport, science, gastronomy…
—What makes us so attractive to the American public?
—Without a doubt, our history and culture. From the Prado Museum to the cathedrals spread throughout our geography. Also unbeatable gastronomy and an endless wine offering. And now, like never before, a billboard of musical shows that have led Madrid to become the third capital of musicals in the world…
—With initiatives such as the Soho Caixabank Theater, the objective is for the American public to come see our productions. What will be the formula for success to attract that audience?
—Madrid has received an avalanche of musical productions. All of them have coexisted and created an incredible offer for the public. Our proposal has been to recover some of the most recognized musicals in history, such as ‘A Chorus Line’ or ‘Company’.
—He just released ‘Playing our song’.
—It is a commitment to look at couple relationships in a comedic way, but the characters in the story, little by little, reveal their small tragedies, their phobias, their desires and the use they make of humor as a defense mechanism. It is a tribute, a tribute, to a way of telling stories that invaded movie screens and our hearts during the decades of the American romantic comedy.
—In October you will premiere ‘Gypsy’, another commitment to one of the most awarded works at the Tony Awards…
—The show will feature most of the original choreographies by Jerome Robbins, one of the great choreographers and directors in the history of musicals such as ‘West Side Story’ or ‘Fiddler on the Roof’. It is based on the memoirs of the artist Gypsy Rose.
—On the 12th he will receive the Turium Connecting Excellence Award for his work as an ambassador of our culture and excellence. Do you think we underestimate the power of creativity as a catalyst for change?
—Yes, creativity has always been associated with less economic notions and everything that had to do with it was considered as something that belongs to entertainment, rather than science or business. But without creativity, starting with the invention of the wheel itself, the world would not have evolved. In this digital age, now more than ever, it is the ability to be creative that makes the difference between machines and man. It is the real engine of change, now applied to all areas of life.
