“I am not a singer or dancer, I am an actress who knows how to sing and knows how to dance,” Marta Ribera is hurried, wanting to shake prejudices to the interpreters who, like her, have developed her career in the musical theater. «I have sacrificed many … times a more ‘beautiful’ song to try to get more expressiveness. Obviously, you have to have technique, know what you are doing and try to make it nice, but if you don’t sing from here, from the entrail, you will not connect body and soul with the story you are telling. When BT MCNichol came to prepare ‘Cabaret“He told me:” I don’t want you to sing the last number, I want you to destroy it, that you enter a tunnel and interpret it with the soul. “
Marta Ribera is the protagonist of ‘Gypsy’, the musical of Jue Styne, Arthur Laurents and Stephen Sondheim who has directed Antonio Banderas And that, after its premiere in Malaga, will be at the Apollo Theater in Madrid from February 7 to March 23.
It is precisely to quote the Apollo Theater and the actress moistens her eyes. «It was the first scenario I stepped on the first time I came to Madrid, and I did it with the Anita de ‘West Side Story’, one of the most beautiful characters and that they have given me the most joy in my career. And in him I was also to interpret ‘Jekyll & Hyde’ next to Raphaelone of the greatest experiences of my life, both professional and personal. I really wanted to return to this theater, I felt like I was at home. I have felt with enormous freedom. I’ve looked at the armchair patio and I have felt very happy ».
‘West Side Story’, ‘Jekyll & Hyde’, ‘Gasea’, ‘Blood brothers’, ‘Cabaret’, ‘Chicago’, ‘Spamalot’, ‘The young Frankenstein’ Jalonan three decades of the actress’s career in the theater in the theater in the theater in the theater in the theater musical … until it arrived Antonio Banderas. The Malagueño actor was in love with Marta when she shared the stage with her in ‘Company’, and decided to stand for the actress one of the greatest titles in the history of musical theater: ‘Gypsy’. “Something I will have done well,” Marta laughs when she is told about the praise directed by flags and that Raphael directed in her day. The actress gets excited again: «I have had the great fate of having met Antonio and that he believed in me as he does. I am referring to me as ‘my star’, but with him I have a very special relationship; I don’t know, it’s as if I lived in me, as if they had made me a transfusion of their blood and made the character as if it were. I don’t know how to explain it otherwise ».
‘Gypsy’ is a musical released on Broadway in 1959 and taken to the cinema three years later. Tell the story, based on the history of the Stríper Gypsy Rose Lee, told in its own memories. Together with Marta Ribera, who plays the artist’s mother, Mama Rose, heads the cast Lydia Fairén (Louise), Laia Prats (June) and Carlos Seguí (Herbie). After the last function in Malaga, the actress recalls with a smile in her eyes, “the public stood up after the final song … at that time she wanted to disappear. I was happy but I wanted them to stop applauding.
And it is that Marta Ribera likes, when she leaves the stage, go unnoticed. «When I did ‘West Side Story’, people asked me at the door when Anita’s interpreter was going to get out. ‘It’s me,’ he said. I went with my cap, my teosans, the washed face … and they looked at me from top to bottom … on the stage I display all my possibilities, and if I can feel sexy I do it, but when I leave I am just Marta ». It is lazy to go to premieres or awards deliveries, although you know it is part of the game.
Although his favorite game, of course, is to get into other people’s skin. TO Mama Rose He has tried, he says, to give him truth. «I like to give my characters all the colors, look for every corner, and in that we have agreed Antonio and I when focusing the interpretation. People are not monochrome, and the characters should not be. Our rose is not the bad witch of the film; She is a woman who, in her own way, loves her daughters, who might not know how to get her daughters out of misery in another way -it is a relentless woman who seeks to turn her daughters into stars of the vaodevil at any price; We wanted to forget about previous versions and the film and make it very human ».
Anyway, Marta Ribera reveals, the intention of flags is to let the doubts float the doubts. «When I investigated, I knew that his mother had been a seller of underwear to Cabaret dancers, and maybe Rose lived in that child as a child. That is why there is a time when they arrive at a theater and says: ‘Let’s go from here’, because maybe I already knew what their daughters were going to find and did not want it. Everything remains as in an enigma, because Antonio likes that the public stays thinking and that things are questioned ».
The function concludes with a moving final number, entitled ‘Rose’s turn‘. «It’s very exciting, yes, but I have to look for a limit, because if I get very excited I can’t sing. You can dance crying, you can talk crying, but you can’t sing and cry at the same time … The voice closes, you can’t give notes or endure them ».
In ‘Gypsy’, the interpreter confesses, “I have felt actress again after a long time; I have felt the power I felt on stage again. But not the power to be a sign, none of that. The power to have the feeling of enjoying what I like most in life, which is to make theater and be able to live the lives of other women ». Marta Ribera concludes with a desire, which expresses out loud. «I want to do text theater -it wouldn’t be the first time; made ‘dreams’, a show about Francisco de Quevedo directed by Gerardo Veraand ‘The Party’, with Sergi Belbel-… On stage I am so happy!
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