Salomé’ a Broadway”

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Salomé’ a Broadway” AVUI ◆ ◆ dissabte 48 ESPECTACLES 3 de maig del 2003 L’actor nord-americà comparteix escenari amb Marisa Tomei, que encarna la fillastra d’Herodes en aquest relat bíblic Emma Reverter CORRESPONSAL NOVA YORK Al Pacino s’abona a “La companyia de Pacino ha arribat Broadway amb ‘Salomé’ a Broadway”. Amb aquesta afirmació, Estelle Parsons, guanyadora d’un Oscar a la millor actriu secundària per ‘Bonnie & Cly- de’, comentava l’estrena de l’obra teatral ‘Salomé’, basada en el llibre d’Oscar Wilde. l Pacino fa de rei Herodes i Marisa Tomei encarna la seva fillastra, la A bella Salomé. Dos intèrprets de renom a Broad- way. I és que a Estelle Parsons no li falta raó. Si bé oficial- ment no existeix una compa- nyia Al Pacino, és cert que l’actor ha convocat els seus millors amics i col·legues de fa molts anys a la prestigiosa acadèmia d’art dramàtic Ac- tor’s Studio, de la qual ell és membre des de 1966, per in- terpretar els principals papers de l’obra. “Gràcies a ell hem aconseguit atreure un grup extraordinari d’actors, cap d’ells té una actitud egocèn- trica, tots són molt discipli- nats, començant per ell”, in- dica Parsons. Al Pacino confessa que és un JOAN MARCUS / AP enamorat d’aquest relat bíblic Al Pacino, en segon terme, i Marisa Tomei durant un moment de la representació de ‘Salomé’ des que va veure a Londres l’òpera homònima de Richard Per a qui estigui acostumat tral. El diàleg és molt florit, d’Artur Ui, representada a l’Off l’any 1977) que Oscars (Essència Strauss. De fet, aquesta és la a l’estil elegant d’altres obres l’acció, molt melodramàtica, i Broadway. Res d’estrany, de dona, 1992). “Faria molt més segona vegada que l’actor de Wilde, com La importància el final, molt violent. doncs, per a un actor format teatre arreu dels Estats Units porta Salomé a Broadway. L’any de ser Frank i Un marit ideal, En menys de mig any, Al al teatre i amb més premis si no tingués nens petits”, 1992 ja va interpretar el paper l’adaptació de Salomé els pot Pacino ha pujat dues vegades Tony (dos, per l’obra dramàti- confessa l’actor, pare de bes- de rei Herodes, llavors acom- sorprendre. Wilde va escriure sobre els escenaris de Nova ca Does a Tiger Wear a Necktie? sons de dos anys: “Em sento panyat de l’actriu Sheryl Lee l’obre en francès, amb l’espe- York. El darrer novembre l’ac- –Els tigres porten corbatins?– molt més còmode dalt d’un (Twin Peaks) en el paper de la rança que l’actriu Sarah Bern- tor va interpretar el paper de l’any 1969 i per The Basic Trai- escenari que en un film, pot- coneguda ballarina de la dan- hard pogués protagonitzar-ne gàngster de Chicago en l’obra ning of Pavlo Hummel –L’entre- ser perquè vaig començar en sa dels set vels. una eventual producció tea- de teatre La resistible ascensió nament bàsic de Pavlo Hummel– un teatre”. TEATRE ‘Segona plana’ un reconegut homenatge al clàssic de la comèdia i adoptar una posició crítica sense deixar de som- satírica de Ben Hecht i Charles MacArthur, el to de riure. Sensacionalisme farsa esbojarrada acaba per situar aquesta funció en Amb Segona plana aquesta distància és impossible. la còmoda estela de l’original. L’autor perd el control a partir del segon acte, potser Juan Carlos Olivares D’un autor acostumat per ofici a conèixer la força pel desconcert, pel vertigen de la seva pròpia espiral de la paraula sorprèn l’inesperat gir que pren la seva de despropòsits humorístics. En el camí queden la obra cap a la comèdia d’efecte. El periodista-dra- història, els personatges i els apunts de fi enginy. maturg fa un pas enrere perquè domini el gag visual Segona plana comença en la categoria del Punch i ‘Segona plana’, de Jaume Boix. Direcció: primari. Però el desmai triga a aparèixer. Tot el Hermano lobo i acaba confonent-se en un estrany Ferran Madico. Escenografia: Deborah primer acte és un feliç intent de mantenir la mil·li- matrimoni entre El Jueves i El Triangle. Chambers. Vestuari: M. Mercè Paloma. mètrica conjunció del cop sec de paraula i la im- Ferran Madico intenta que la representació no es Il·luminació: Ignasi Morros. Intèrprets: Pep mediata traducció gestual. El model de Primera pla- transformi en una simple fugida cap endavant. Li Ferrer, Fermí Casado, Josep Minguell, Mercè na: deixar sense respir l’espectador, arrossegat per calen vint-i-cinc minuts més de serenitat per poder Anglès, Josep Mota, Albert Ribalta i Enric frases-guillotina enmig d’un remolí d’accions dig- sortir-se’n. També ell es rendeix a l’evidència d’or- Llort. Teatre Villarroel, 29 d’abril. nes d’una comèdia dels germans Marx. questrar només una comèdia de bulevar. Els intèr- D’un gènere tan enganyós com la farsa (una fèrria prets ni tan sols s’esforcen a dissimular cap on estructura camuflada de caos) s’accepta tot menys el s’encamina la història. Les desconcertants sobreac- A una obra que esbudella les interioritats de l’o- descontrol. L’obra de Boix juga amb el principi d’e- tuacions del primer terç de l’obra –quan tot encara fici de fer notícies, escrita per un professional, se li terna superació de l’impossible. El sistema és per- sembla estar sota un cert control– es destapen com suposa un punt de morbosa traïció, un estimulant fecte per mostrar la dèbil frontera entre realitat i a absolutament adequades per al desenllaç. Exem- grau d’autocrítica i una reflexió de primera mà. ficció, entre la veritat i la mentida, que centra el ple de saviesa professional. Ells ja estan en situació Jaume Boix, en el seu debut com a autor dramàtic, debat periodístic. Perfecte mentre el públic pugui des de la primera frase. És el públic, l’únic descol- aporta, a més, humor a Segona plana. Si el títol ja és reprendre el fil de la denúncia, distanciar-se del circ locat en aquest joc..
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