Hello, Andy?with libretto and direction by Alfredo Arias and starring Alejandra Radanopresented a new version at the Experimentation Center of Colon Theater.
The monologue that goes through the past of star Joan Crawfordlegend of Hollywood melodramas, It had a first version in film format, released in 2018, directed by Ignacio Masllorens, starring Radano and animated by Juan Gatti. The exquisite visual artist transformed the monologue into a kaleidoscope of images about Hollywood cinema and the visual art of Andy Warhol.
The new version of the work is a staging of the filmprojected in the center of the scene, with a successful setting of Martin Roigwhich makes good use of the game of duplicity between the screen and the actress of the live filmplaying the same character.
Diego Vainer’s music provides a subtle atmosphere at the confluence between theater, cinema and design, that come together to narrate the changes of an actress in the twilight. The result is a harmonious and organic whole..
In the dialogue that Arias imagined between Joan Crawford and Andy Warholwhich Radano maintains in the form of a telephone conversation (in the manner The human voice by Francis Poulenc), we learn that The diva confirms that the world has changed and her black and white cinematographic life is part of the past. Change is the fundamental axis of the work.
The monologue recreates a dialogue between the Hollywood star and the brilliant artist Andy Warhol. Photo: Teatro Colón Press / Lucia Rivero
Crawford wants Warhol to immortalize her in one of his visual pieces: “The screen abused me and the fabrics ignored me”, the character laments. But instead, the greatest exponent of Pop Art He proposes a delirious movie about Tarzan and her in the role of Jane.
Radano does a formidable job with all the voices that come together in his character, and also the dialogue with his own image in the film. The tone of his interpretation could not be more fair, he intelligently avoids facing any naturalism for a character that is pure artifice: a spirit of extravagance, with a love for the unnatural and exaggeration, characteristics that Susan Sontag synthesized in the concept of Camp aesthetic.
The makeup of Sebastián Correa, the costumes of Fabián Luca, the hairstyles of Fabián Sigona are fundamental for the projection of the character that Radano built exceptionally and left you wanting more live interaction.
The motley monologue that the actress maintains is aired with her interpretation of songsthere are four in total, with successful arrangements by Diego Vila, distributed in a timely manner to mark caesuras in the progress of the work.
The resource of duplicity between the screen and the actress of the live film, playing the same character, was well used. Photo: Teatro Colón Press / Lucia Rivero
Director and actress are a memorable duo that enhance each other in the game with the artifice of the character: Arias and her seal in her vindication of women with a will of steel but vulnerable, and the ductility and expressiveness of Radano, a performer who never stops shining on the screen and on the stage.
File
Text and address: Alfredo Arias
Interpreter: Alejandra Radano
Making of the film: Juan Gatti-Ignacio Masllorens
Scenography: Martin Roig. Lights: Matías Sendón. Locker room: Fabián Luca. Make-up: Sebastian Correa. Hairstyle: Fabián Sigona. Musical arrangements: Diego Vila. Music: Diego Vainer
Performance on Saturday June 1st
