Mónica Regueiro unfolds as an actress and producer of the show All the women, Theatrical adaptation of the film by Mariano Barroso by Daniel Veronese, starring Fele Martínez, which is shown at the Cuyás Theater.
All the women draws a male character that is falling apart before five female characters, what does this emotional pulse of powers, seductions and reproaches?
Well, above all, it represents a gift for the actresses, because in All the women, in addition, it is about men writing papers of strong, powerful, independent and intelligent women, which is very to thank the original writers, Mariano Barroso [presidente de la Academia de Cine] and Alejandro Hernández. Both won the Goya for Best Screenplay at the time, very deservedly, because both the female and male characters are really well profiled.
Each character experiences a different tension with the protagonist, what does his character face?
I play Carmen, sister-in-law of Nacho, whom Fele Martínez plays, with whom a very atypical relationship between brothers-in-law is established and in which my character is her tear-cloth. So, what happens to Carmen, which I loved so much when I saw the film and when I read the script that Daniel Veronese adapted, is that he realizes, together with the viewer, Nacho's tricks – because we all have a Nacho in our lives – but we do not always recognize it at first sight. And the scene is very beautiful between Carmen and Nacho, because the character makes a click on the scene and, both she and the audience, realize at the same time of several things that happen, which is very interesting, as an actress and as a spectator .
The film is articulated through a very theatrical staging, to what extent does adapting or discarding the film adapt to the tables?
Rather, it fits, because it does not change much. It is true that Veronese has given his personal touch and has made some variation, especially with the end, but the characters are the same and the situations that arise are the same. Each medium has its peculiarity and we are lucky to have one of the great current directors of the scene, Daniel Veronese, who not only acts as director but also as an adapter of the text. In this sense, Veronese had a very clear idea of how he wanted to build this work and I think he has adapted it to the stage very well because it has a lot of strength, a lot of truth and, I would even say, a little more comedy than the original script of the film .
In this sense, could you disassociate yourself from the reference of the actress Marta Larralde, who plays her character in the film?
Yes, totally, although I know Marta and I think she did a great job in the movie. All the actresses are wonderful. In this version, we are lucky to also have a deal, because there is Lola Casamayor, a lady of the scene; Nuria González, a face well known to the public; Lucía Barrado, recently awarded by the Union of Actors … In short, there are actresses and although, evidently, the film reference is there, each one has tried to make its own construction of the character. In this sense, we must also thank Veronese for the freedom he has left us to be able to draw and print characteristics of each character.
On the other hand, he has also produced this project, a double aspect that he has performed frequently throughout his career, both in theater and film. How was the proposal built from the other side?
Indeed, I am a producer, as I say (Laughter). I have this double facet of acting as an actress and producer of the projects that I embark on and, in the case of All Women, it is a project that I really wanted. I had already worked with Mariano Barroso in one of my first theatrical productions and, and since I saw the film, I thought the same thing he said before: how theatrical is this text, because it develops in very few spaces and is based, above all, on the dialogues and the interpretation of the actors, so it had all the ingredients to be a good theater performance. As soon as I met Veronese's interest in setting him up in Argentina, where things did not quite fit him due to dates and agendas, I knew he was the perfect director to do it in Spain.
Why do you like the challenge of combining production with its interpretative side?
For the possibility of being able to shape projects and start them from the beginning. I think that the production part, although it has a very business, financial and numerical aspect, also has a very important artistic part, which is the visualization of the projects in order to materialize something that, in principle, is only paper. This artistic part is what hooks me to the production because, in addition, I am lucky to have allies along the way, who are wonderful co-producers who help me a lot, especially in that first part in which I am quite less efficient.
She also remains immersed in the promotional tour of Rain Cat, a film that portrays, in different stages, ages and classes, the scourge of sexist violence. How has the reception been?
Yes, Rain Vacas is a very nice project, which cost a lot to get ahead but, in this case, there was a greater motivation, a plus, as it says, which was to deal with the problem of sexist violence in the couple. What we would like is for this project to reach as many people as possible and, above all, as a young audience, because I believe that the problem must be addressed from the root. In addition, we are having very worrying numbers between increasingly younger couples, which, added to the new technologies, which is a more control instrument, requires a deep analysis. And if we can contribute our bit with the film, which is what we want, at least we will contribute to create debate and make this issue visible, which is what made so many artists, who are already stars, join the project.
In what way does the film portray the different types of violence that, moreover, occur transversally in society?
The film shows a couple, which is always the same throughout the film, but embodied by different actors, such as Maribel Verdú, Eduardo Noriega or Laia Marull, which reflects precisely this, that sexist violence is a problem that does not It depends neither on the age, nor on the cultural level, nor on the money you have in the bank account, but it can affect us all. Many times we have it much closer than we think, but we are very unprepared to face it, because we do not have the weapons or the tools to help these women. Therefore, there is important work on the part of civil society, since women are not sufficiently supported by the system or by the laws. For my part, I believe that artists can also contribute to the fight against male violence, even if it is made visible and talking about it, because the figures are worse every year; we do not advance year after year, but we go backwards. Therefore, although many people think that we are not here to change the world, we can put our eyes and bring a reflection. And that's what I tried in Rain Cows.