The Spanish regains command of the Slaughterhouse Ships with a schedule in which the director has wanted to open up to the whole family and bet on “joy”
You know what was the last time there were changes with the Manzanares, specifically, Matadero. Mateo Feijóo, protected by Celia Mayer and detached from the structure of Spanish, decided to put aside the theater of text and bet on what he called “living arts”. Then, the purists (carcas) of this theater got up (we got up) putting the shout in the sky. Reason was not lacking, because there was room for everyone, everyone. What happens is that in his head was something more modern that, seen what was seen, he could not understand. Now, being aware of this and not wanting to give an opinion – “I dedicate myself to offer my proposal” -, Natalia Menéndez – leader of a Spanish Theater who once again embraces the Legazpi spaces – has presented the rest of the season in the Nadero del Matadero . He does it with clear ideas and going offenders: “I don’t want to like everyone, but what I want is for everyone to come.”
It is the letter of introduction from a director who arrives with all the happiness in the world. Because that will be the tonic that the former director of the Festival of Almagro took to the Sala Max Aub on April 24 with her first assembly, “Alegría Station”, a project with “humor, comedy and poetry” -define- that she has done with Colombians from Teatro Azul and in which two questions will be addressed: can it be created from joy? And is there a manual of joy?
Beyond her own work, the director is marked as a general challenge “to see how the spectators change when entering and leaving the room through pieces that create sensations, look for questions and stir inside”. To do this, Menéndez will seek to follow a “plural” line and without differences between the theater in Santa Ana square and the Matadero rooms: “Something very varied that balances the balance between what the viewer wants and the demand of the profession”. Posture inherited from his stage at the head of the Manchego festival, where he says he has learned to combine “between the classic and the modern, the young and the elderly” and where he opened his agenda to the world. This justifies the international collaborations that will now reach the riverbank of several South American countries, “you have to have a round trip with that land”, with Europe and with Asia.
In addition to creating the first comedy contest to promote “a genre that has sometimes been understood as minor without it being true,” he says; and form five new initiatives: “Platform”, with a view to the Madrid off; “Senior”, a company designed for those over 65; “Vividero”, to unite families; “Mixed animals”, where several actors-singers will pass; and some “Dialogues” in which to exchange impressions on the scene world.
Menendez says that since entering his office on November 7 he has had three months “crazy” – in which he has received about 400 proposals – and in which he has “stolen hours a day” to close a schedule in which “The maids” (between April 15 and May 17), “Love, catastrophe love” (April 29 to May 24) and “Ira” (May 22 to June 14) stand out.