Jordi Milán: “We want to pay tribute to the Catalan amateur theater”
Return The Cuban. And he will do so for the first time at the Romea Theater, where he will open the season from September 17 with Love came with taxia work of Rafael Anglada It is a classic of the theater fond of Catalonia. Its director, Jordi Milángives us some keys to the return of a historical company that celebrates 45 years with SGAE Medal for Milán and the Creu de Sant Jordi for the group born in Sitges in 1980.
After People well (2016), by Santiago Rusiñol, are we facing a new adaptation?
We announce one thing and then we do another. We always like to turn the story. We chose this title because we want to pay tribute to the theater fond of Catalonia with 18 performers, between actors and musicians.
For some particular reason?
Most people who dedicate ourselves to the theater come from this world, although later each one has followed their path. I was born in 51 and at that time there was no television. And the fans gathered after dinner to rehearse and do theater, comedietes or shepherds. We were pleased to pay tribute to our label, that of La Cubana. In addition, it is a well -known work in this world. However, we do it and do not do it at once. This time it does not even become an adaptation, as with People well.
Choosing the Romea, where the work premiered in 1959, has it been a decision sought?
Like one day we did Blinded with love In what was a cinema, the Tívoli, now played the Romea, the theater par excellence of Catalonia. We recreate the time of 1959, in the middle of Franco, and we are also interested in the environment of the Romea of that time. It is a tribute to the publishing house Millà on Sant Pau Street, the Peris brothers who rented costumes on the Board of Commerce, to the Salvador brothers and their paper decorations or the Damaret hairdresser, who rented wigs on La Rambla.
“La Cubana would not exist if it had to be born in 2025; now there is no madness of our age”
Looking back, what is left of Jordi Milán, who struck the 1983 Sitges Festival with Cubana’s Delikatessen?
Then we were not aware of anything. It was crazy. I think this madness must be maintained. I believe in it and it must be strengthened, especially because there are young people, much more prepared than we do at that time, with much better ideas, but they are very disengaged. Then enter what is politically correct and the regulations. And that the companies, the creators, must be based on the theaters. La Cubana would not exist if she had to be born in 2025. I think not, thinking of many of the things we have done and done.
After Franco’s death, there was agitation in every way.
People wanted to go out on the balconies, open their windows, undress and take the air. And the institutions were completely disoriented, they wanted to do new things and they were carried away. Now everything looks through the lock hole, there is no support or a crop broth for anything similar. Everything is more construed.
Returning to the Delikatessen From 1983, how do you remember them?
It was crazy and at the same time a school for us. A discovery, after a few years feeding on us as spectators of the Sitges Festival of Ricard Salvat. I also amaze when I went with the Vicky flat At the Avignon Festival. “That’s theater,” I thought then. We returned to Sitges determined to make the montage in shop windows, on the market, on the street … We told Salvat that we would program it or not. And it was a resounding success. It was like a game for us, but later articles and analyzes were made on the assembly and things that we had never thought of.
Success went far beyond Sitges.
Hermann Bonninthen director of the Dramatic Center of the Generalitat, proposed to us in Barcelona. This was, in La Boqueria, in El Corte Inglés and Preciados Galleries. Then we were in Zaragoza, Granada, Valencia … It lasted three summers and we learned a lot. You had to do theater without doing theater.
After How to coconut, black (1989) was another trampoline for the Cuban, before the big blow of Blinded with love (1994).
We did before The storm More with the ass than with the head, and from the dismantling of each function, a whole move, we came up with How to coconut, black. But yes, Blind It was crazy, I didn’t know how to do it and it took a year in production. There I learned a lot, we wanted to make a movie and I didn’t know how. We thought of theAlmodóvar and in the end came in Fernando Colomowho was excited immediately. It was five years without stopping and more than a million viewers. We even went to the Edinburgh Festival.
What future expects Cubana and its director and founder?
I am not La Cubana, we are a group that has passed 170 people between performers, technicians and creatives. For example, theAnna Barrachina has returned after 15 years, he did not work with us since Blind. We have set up a foundation to maintain a little material and intangible heritage of La Cubana, so that it can continue and nourish groups and people who have the same spirit. It is important to convey our concept of work and somehow our legacy, although I do not like this word. And after Love came with taxi, that will only be done in the Romea, we already have in motion The tuisine of my cousininto, A work around gastronomy.
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