“Good thing we’ve come to Malaga. If the Maxes had been in Valladolid, as last year, the theater would have allowed a capacity of 25 people. But the culture, like traveling by train, it is safe “. Already in the speech of appreciation of the first statuette of the night (Elisa sanz, Best Costume Design by Play) it was clear that it was going to be a protest evening, a manifesto-show in favor of the need for the performing arts in times of pandemic. He Cervantes Theater It was the place where, as the film community did weeks ago, the talents of the national scene were finally reunited (remember that the gala should have been held in June) to claim the importance of your work, in a time when culture feels diminished, relegated to a corner by the authorities.
If he movie theater, an art of a more massive nature and closer to entertainment, designs award ceremonies for all audiences, the theater and its galas are something else: 30 minutes after the curtain rose, the Bella Ciao had already rung, the Italian antifascist anthem, in case it had not been clear in the first speeches of the night (against capitalism and hetero-patriarchy, for example), that here the more or less recalcitrant right-wing voter had little to do. Joaquín Casanova and Elisa Ramos, that is, La MaquinéThey engineered (sorry) a show that generously gave the floor to those who had a lot to say in times, yes, in which listening to others seems like a lost art.
“The pandemic has left the performing arts like a Gruyère cheese, full of holes; like a half-full or half-empty theater, not like trains and planes, which are full, “he said in his speech Antonio Onetti, the head of the organizer of the evening, the General Society of Authors of Spain (SGAE), who finished his words by asking the authorities to “listen to the cultural industry, a fundamental part of the Spain brand and 3% of the Product Gross Interior “. In the stalls was the Minister of Culture, José Manuel Rodríguez Uribes.
Antonio Banderas He could have won two prizes, but in the end he did not go to the temple on Ramos Marín Street. Perhaps one smelled that her A Chorus Line, the show with which she started her Soho CaixaBank Theater, was not going to play hair in the category of Best Musical Show. Curiously, he was defeated by a former employee in his company, Lluís Pasqual: the version of the former artistic director of the Teatro del Soho de Doña Francisquita (for the Teatro de la Zarzuela-National Institute of Performing Arts and Music), was made with the award. It was the only Malaga option for a night in which, yes, it had a squad of anchovies and boqueronas to deliver the statuettes (Mariola Fuentes, Fran Perea, Jaime Ordóñez, Pablo Puyol, Belén Cuesta, María Barranco and Juanma Lara, among others).
The other award did have Banderas in his pocket: the SGAE Medal of Honor. He received her, from his home, from his own theater, in a private event a few days ago, and a video was offered in which he showed his gratitude: “What is the worst thing that can happen to you if you buy a theater? That there is a planetary pandemic”, Antonio joked, to assure that “one always looks for the cracks where to sneak in to continue working and keep the spirit up”. He also wanted to vindicate his love for the scene: “I am an actor for the theater, not for the cinema. The theater has been a woman who has always loved me but whom, it is true, I abandoned “.
The record of the twenty-third edition of the Max leaves as great winners Lluís Homar (Mr. Linh’s neta) and Veronica Forqué (The things that I know are not true), who rose with the interpretive categories, and the team of Pack, about the gang rape of La Manada (to which they dedicated the award for Best Theater Show).
The night was peppered with performances by María José Llergo and Fuel Fandango, who ended the evening with their Hurricane of flowers: “Everything dark will become a garden,” they sang. Optimistic message for tough days.