The mountain FitzRoy3,405 meters high, is located in the Patagonian ice field, on the border between Argentina and Chile. There Jordi Galcerán places the four protagonists of his comedy ‘FitzRoy’, which after premiering in Barcelona nearly two years ago now arrives in Madrid in Spanish and in a new production that he directs. Sergi Belbel and interpret Amparo Larrañaga, Ruth Díaz, Cecilia Solaguren and Anna Carreño at the Maravillas Theater.
Amparo Larrañaga goes from the snows of ‘Lapland’ to those of ‘FitzRoy’. «Everything that happens in the play could perfectly happen in the living room of a house, but from which you cannot go anywhere; “You can’t call a taxi, you can’t go for a walk, you can’t even lock yourself in a room to cry or laugh.”
The work, the actress continues, talks about the ambition of the four to rise to the top, about competitiveness. «It shows how far they can go, because they are women who don’t like to lose. That’s what I find most interesting; Yeah, There is a lot of solidarity, but you also see competitivenessthe challenge, what it means for them to climb that mountain and, if something puts it in danger, how each one reacts. But all through comedy, which is how I think it reaches the public the most.” And with the ‘Galcerán’ seal that he gave to comedies like ‘The Grönholm method‘ either ‘Burundanga‘. “He handles drama, humor and surprise very well.”
The choice of FitzRoy is not accidental. «The function – says Amparo Larrañaga – talks about risk and challenges. And apparently there is one that has not been achieved: none female rope had climbed the Yugoslav route of the ‘FizRoy’; That’s why he placed the comedy there.
There are four women on the edge. «When you are at 2,800 meters high waiting to go up a route and something happens that I can’t explain, they get upset. to the limit. A tension is also generated that puts them all on the limit – figuratively and in reality -, which makes them see how far they are capable of going to climb that mountain. All of this, moreover, “at 2,800 meters and in a very small and very overwhelming space in which everyone sleeps, relieves themselves and eats at the same time. “It’s much more than just pushing yourself to the limit.”
That same feeling of overwhelm is experienced by the actresses in a set that limits and makes their movements difficult. «When you have a space so small, so narrow, so minimal, of course it conditions our work. When I saw it I said: ‘They’re going to put us in a terrarium.’ In that space we move, we fight, we laugh, we play, we cry… It has taken us a while to get used to it; it’s a irregular scenario with ups and downs, with the addition of all the climbing equipment: carabiners, helmets… It is tremendous chaos. But in the theater everything ends up becoming mechanical, it becomes a learned choreography.
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