The phenomenon of Rancio, the nickname by which the Sevillian journalist and writer Julio Muñoz Gijón is known, transcended the limits of literature long ago to be incarnated on the stage of the theater. It began with the first installment of its most popular saga, The Scold Killerand continued with the sequel The crime of the palodú, reaping notable public success. Now he returns with a third part, The Diary of the Scold Killerwhich is presented as an even more difficult one that will once again delight fans of the series. The work will be in the Sala Cero of the capital of Seville on display until November 10 with performances from Thursday to Sunday, and the team called to carry it out is basically the same one that handled the previous productions.
“The third installment of a saga entails a great responsibility, the public knows the previous productions and we have a higher level of self-demand,” admits Sofía Aguilar, from Art Productions. “Being aware of these circumstances, we undertake the work with all our dedication and enthusiasm, as it cannot be otherwise in such a passionate profession. In this show we continue developing our line of work on contemporary Andalusian comedy, hoping for a similar reception from the public. “Having them come to the theater and enjoy it is one of our primary objectives.”
Another of the producers, Elías Sevillano, from Producciones Circulares, comments that “for this third installment we were looking for a new approach, but without deviating too much from the previous shows and much less from this register of crazy comedy. Now everything is more psychological, and we believe that this enriches the saga. The setting is a psychiatric clinic, and the line to follow is what characterizes us: delve into comedy with a very good finish, offer quality shows. The challenge was very great, and the pressure was very strong after two incontestable successes. We had a lot of pressure to give it a very good finish and to be liked, while maintaining the level. The final result is very, very fun, and will convince the most demanding fans.”
Love for traditions
As the producers themselves warn, The Diary of the Scold Killer It is a prequel to the story of the most criminal sevillenow converted into a text that mixes diary, psychological thriller, and comedy close to hilarious absurdity. The playwright Ana Graciani, also an expert in the author’s peculiar universe and his characteristic joke, smiles when commenting that “this work has given me the same war as the previous ones”, to immediately explain that “I have tried to deal with the three pieces differently, so that the public does not find more of the same. Keeping the essence of Rancio, his humor and his Sevillian ways, but trying to make each work have its own identity.”
“This time it is about explaining how a murderer is built, his anatomy,” Graciani continues. “As followers of the saga will remember, the Regañá Killer begins by committing seven murders during Holy Week in Seville, and in The palodú crime He continues doing his thing. Unlike the previous ones, neither Inspector Villanueva nor Agent Jiménez appear here, who have not yet appeared in the story. There is no trace of the police plot, but rather all of the above: an apparently normal person, very fond of traditions and Seville, before whom we wonder how he becomes a murderer.”
Thus, the new proposal is limited to two characters, the patient and his psychiatrist, while the loyal public plays with the advantage of knowing how everything will end: in a bloodbath full of recalcitrant Sevillianism. “The doctor tries to help this apparently normal man, a lover of Seville and its traditions. We don’t know if he succeeds or not, but he works so that the outbreaks he gets don’t get worse. In this way we have managed to put together a very funny story, which I hope the public sees and laughs as much as we laughed writing it.”
Against homogenization
Director Antonio Campos also points out that the acting work carried out by Candela Fernández and José María Peña, “two actors with a fantastic comedic vision”, has been “very enriching, they have trusted me and at the same time we have tried many things, they have proposed a lot, and that is normal when you have a living text in your hands and the freedom to move whatever you want. Now, before the premiere, nerves arise, but deep down what we are all looking forward to is doing it now.”
“It always makes me very excited, you see something you have written in the solitude of your desk, and suddenly you see it there, embodied,” adds Julio Muñoz Gijón himself. “But this was also the super-challenge, because the book on which it is based is the diary of a guy where many things happen in many places. Anchoring all of this in a single location such as a theater is complicated. I didn’t know how it was going to turn out, but I’m very happy with the result. And knowing that the seats have been sold out without knowing if this is right or wrong, is something to be very grateful for.”
For the writer, the most important thing is “that it is about having a good time at the theater, but also reflecting on the drift that a city, or all cities, are taking, if we are homogenizing and soon it will not make sense.” travel, because everywhere we will have the same stores and we will be dressed in the same brands. The work is also about that.”
#diary #scolding #murderer #theater #mind #sevillite #criminal
