Juan Diego Botto triumphs claiming dignity for the gutters

Although the Pirate Ship show, a moonless night, won two of the important awards (Best Actor and Best Show) at the Max 2022 awards, who obtained the most awards was Canto jo i la muntanya balla, with three statuettes: Best Direction, Best Scenic Space Design and Best Musical Composition . A show, this last one, produced by La Perla 29 that premiered in the small room that this company has in the Biblioteca de Catalunya. The work of La Perla 29, an artistic group that was born at the beginning of the century, has been lavishing serious theater where contemporary creation and repertoire come together. These three awards are also a well-deserved recognition of this entire trajectory.

Juan Diego Botto was unable to attend the gala as he was on a shoot. He received the Best Actor Award from his sister Nur Al Levi, who read a letter in which Botto dedicated the award to his mother, Cristina Rota. Letter in which he also wanted to emphasize the figure of the disappeared of the Civil War stating that "thousands of people are still waiting in the ditches of this country for justice to continue to be done, waiting for their remains to have a decent burial next to your loved ones". Sergio Peris-Mencheta went up with Cristina Rota and Concha Busto to collect the Best Show Award shouting: “Long live Lorca, long live Botto and long live the mother who gave birth to them”, after which he also decided to read a few words by Botto with great politically charged and in which he denounced "the rise of the extreme right, an ideology bent on denying rights to others, that ideology that staged a coup, provoked a war and outlined an extermination plan, an ideology bent on appropriating Spanishness to expel all the rest, all citizens who think differently”. Botto also wanted to have a memory of the American Southern Cone by saying: "García Lorca is the most famous missing person in our history, but he is not the only one."

Dance, one of the big winners

Dance had a greater presence this year as it also won the Best Lighting Awards, which Nicolás Fischtel won for CreAcción, and the Best Costume Design, which Ana Garay won for Rebelión. But the big winner of the night, against names of the depth of Rocío Molina or Jesús Rubio was Jesús Carmona, National Dance Award 2020, which won two awards: Best Dance Show and Best Male Dance Performer. He also highlighted the presence of Basque dance. The dancer from Zumaia, Lucía Lacarra, won the Best Female Dance Performer Award for the show In the still of the nigth; and another of the values ​​of Basque dance, Iratxe Ansa, also a National Prize winner at the same time that Carmona, together with her partner Igor Bacovich, won, in addition to the aforementioned Best Lighting Prize, the Best Choreography Prize for CreAcción.

The surprises came in the smaller prizes. Thus, Alessandra García, one of the representatives of that avant-garde and community movement from Malaga, among which are other artists such as La Chachi and Alberto Cortes, picked up the Best New Show. The other surprise was the Prize for Best Playwright won by María Velasco, beating the great favorites, Juan Diego Botto himself and Joan Yago who signed the play produced by the National Theater of Catalonia, De què parlem mentre no parlem de all this shit. Velasco was awarded for her work Talaré a los hombres de sobre la face de la tierra, a poetic work with a great textual density that the author, also director of the piece, had to produce by force of lungs from self-management. Velasco denounced this situation with a speech that began with a clear: “As a writer, only bad words come to mind. This path has been very difficult.” In addition, she took the opportunity to thank the Cuarta Pared, a Madrid venue that will exhibit this work again next September, for her support throughout the project. The other authorship awards went to Sandra Ferrús and her work La Panadera, Best New Authorship. And in Julio Manrique, Marc Artigau and Sergi Pompermayer who won the Best Adaptation Award for Carrer Robadors.

A long-legged Monroe

Samantha Hudson She decided to appear as Afrodita Hudson in a musical version of Parole parole by Mina Mazzini and Alberto Lupo, a version where the title became a “paraules, paraules”, referring to the word present in performing arts. With the appearance of a frontal Monroe and with beautiful and long legs, it was one of the most scenic moments of the gala. Presence that she had a joke included: "I'm very Ainhoa ​​Arteta, well, more boob than Ainhoa". Samantha Hudson presented the Prize for Best Street Show, which went to the Kamchátka company, and the Prize for Best Children's Show, which went to the long-running and indispensable company El Espejo Negro and its show Cris, small brave, a work about a transsexual girl , “transsexual children exist, I ask for a big applause for all those children who live with us, being different is not bad, it is enriching”, said the director of the company Ángel Calvente. The Teatro del Soho in Malaga, which also co-produced Cris, pequena Valiente, also won the Best Musical Show Award, which was collected by Javier Banderas, who played an audio message from his brother Antonio live to thank him for the award and vindicate the fight “for the performing arts at a time when it seems that only things that are recorded exist”.

José Luis Alonso de Santos received the Max Honor Award, he had a measured and playful speech, "I brought a paper, but I have lost it", where he highlighted the role of his family and his collaborators to whom he wanted to dedicate the award. “If I am going to keep the base of this award, I am going to receive the base of honor,” he said, pointing to the lower part of the statuette. "I like to be a base, so that others climb on top, so that others support each other," he concluded metaphorically.

Miquel Iceta was the great absentee. Impossible to reach the Council of Ministers the following day, official sources argued. The setting was unbeatable, a beautiful theater from 1829, the Teatro Principal de Mahón, the first opera house in the country. Small, beautiful, cozy and that knew how to radiate the warmth with which this gala has been made where the Mediterranean Sea was the main protagonist, waves and environmental complaints included, but which lacked stage presence and a bit of strength. It had moments that bordered on disaster, such as the number of one of the organizers of the gala, Josep-Pere Peyró, or the incomprehensible anxiety of Juan José Solana, president of the SGAE Foundation, who visibly nervously lost the thread in a speech that It ended up being somewhat incomprehensible and that he wanted to inspire the public to go to the theater, get up from the sofa and support a sector that in recent months has had less attendance. The close and measured presence of the presenters, Clara Ingold and Josep Orfila, saved a gala that at times was failing. In the end, a fast, bland and efficient gala.

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