About the play
“The Day You Love Me” is an allegory of heroes and cowards, of
leaders and followers – an allegory that envelops us in the doubt of
absolutism.
A day 1924, Carlos Gardel appears in Caracas, the same day a
successor is sought for Lenin who has died. Rituals and myths, idols and
leaders combine in a kind of dance – to a tango rhythm. Was Gardel an idealist
or did Lenin perhaps die singing a tango?
From the director
We suggested a get together… remember? We discovered an
excellent Mexican author, Sabina Berman, and also greatly enjoyed the work of
the new Argentine partnership, Roberto Cossa and Mauricio Kartun. It was a very
exciting game to witness the choice “Between General Villa and a Naked Woman”
without forgetting, of course, that all this happened extremely “Far From
Here”. The Poetry Marathon was more successful than ever, considering the high
quality and quantity of the participants. Then, with a playful passion, we
surprised everyone with a work for children of all ages: “Pluft, the Little
Ghost” by renowned Brazilian playwright, María Clara Machado.
Well, the moment has arrived for our season to end and we begin
by saying see you soon…We are certain that we are presenting a golden finale
for this entire season which was conceived and produced especially for you. The
curtain rises again for one of the very best Venezuelan playwrights, José
Ignacio Cabrujas with his coup de theatre “The Day You Love Me”.
This satirical comedy takes us on a journey through the old
Caracas in a period colored by its customs, charms, values, political
upheavals, and, above all, a great sense of history; all of this is suspended
in space when the legendary Tango singer Carlos Gardel materializes in the
lives of the people of Caracas. Gardel, the ultimate Latin Lover and personae
extraordinaire, goes in and out of the home and life of a traditional
Venezuelan family, the Ancízars. The fusion of patrician tranquility with a
sensual revolution is the task that this playwright takes on, creating the
magic of characters that speak today in the vernacular of the 1930’s, though we
may infer that their feelings are from 1918. Only Cabrujas could carry this
off… Case closed… The rest is up to you, the audience.
I have one thought that lingers… Throughout this work we have
remembered Carlos Gardel – who died in a fire in 1935 – and we have remembered
José Ignacio Cabrujas – who drowned in a pool in 1995. One met with death from
a lack of water and the other from an excess of it. These facts, which seem
rather ironic, are in essence that: a secret irony. Behind the amused grin we
are left with respect, reflection, and nostalgia knowing that humor is the most
certain thing in the life and work of both of these men: a great singer and a
great writer.
There is a saying that has been around since 1960 when new
technology gave us improved versions of Gardel’s original recordings. This
phrase that made history was heard from his old and new fans alike: Carlos
Gardel, cada día canta major (Carlos Gardel, his singing gets better by the
day) Without getting sidetracked into analyses about whether he was the best
ever… whether anyone else came close, etc.; this phrase says it all: Every day,
he sings better… he improves with time.
And carrying on with this thought… without forgetting the
freedom of his ideas, his words, his literary exercises, and above all, his
lust for real life, and his palpable presence in every presentation and staging
of his work…. without failing to remember those infinite cups of coffee where
he sometimes buried his sight, to José Ignacio Cabrujas, skywalker… tight-rope
artist who dances across the sky of our hopes, our dreams. It is to that
Cabrujas that I would like to say that I still do not believe that he has died
and so I do not miss him nor mourn him. Because when I remember him and re-read
his work, I believe that his writing gets better by the day.
Mario Marcel – Artistic Director
About the author
José Ignacio Cabrujas (born in Caracas, July 17, 1937 – died
Portamar, October 21, 1995) was a contemporary of Isaac Chocrón, Román Chalbaud
and Rodolfo Santana. Together they are the most important quartet of
contemporary Venezuelan playwrights.
In his drama, Cabrujas explored the existential dimensions of
Venezuelan men and women, uncovering their isolation, exacerbated by the
loneliness and dearth of communication in which they lived. To achieve his
goal, he examined their past as a way to interpret their present, employing a
language that pushed expressive dimensions to its limits. In this way, he
interpreted human anguish by closing the artist’s sorrow and frustration in
revealing and understanding his inner reality.
From various perspectives he sought to portray to his audiences
the many challenges his protagonists faced in their daily lives, challenges
from which they often recoiled because, more often than not, the leap was
metaphysical. He also challenged popular assumptions and his protagonists’
excessive reliance on the mythical/religious beliefs of their world, which his
view, served only to aggravate the human condition.
His work struggled with immobility and passivity, which are
destructive and disabling. They both paralyze and sterilize, as happened to the
inhabitants of San Rafael de Ejido in “Acto Cultural” (1976).
Cabrujas began his career as a playwright with “Juan Francisco
Leon” (1959), followed by “Los Insurgentes” (1961). The first was based on a
historical character, Juan Francisco Leon who rebelled against the King; the
second, also inspired by history, describes the arrival of General Bermúdez –
who fought in Venezuela’s war of independence, in Caracas. In both, the past is
used as a template to shed light upon the present, which makes both works
somewhat didactic and partisan.
With “El extraño Viaje de Simón el Malo” (1961) he acquired
national fame and established his career as a playwright. His trademark is
critical analysis hidden behind the veil of entertainment, in his
representations of the contemporary man. The central theme is that of perpetual
acts of dishonesty.
In “Tradición, Hospitalidad” (1062) the theme is the lack of
understanding among human beings, illustrated here through the relationship of
a couple. In 1963, he inaugurated “En Nombre del Rey”, where he again applied a
historical event to the present. His protagonist is the Spanish conquistador
Gonzalo Jiménez de Quesada, who tries to impose a Eurocentric perspective in
the new continent. His sixth play, written together with Roman Chalbaud is
“Días de Poder” (1967) in which a one-time political magnate devotes himself to
writing his memoirs following his fall from power. “Fiésole” (1967) was the
culmination of a somewhat elusive type of theater due in large part to the
symbolism employed, a technique begun with “En Nombre del Rey”. In 1971, with
the completion of “Profundo”, he returns once again to his characteristic
style, where the past serves as a historic presence in the dramatic
interpretations that illustrate the present. In “Acto Cultural” (1976) his play
uses a plot derived from the lives of his people, one that carries a universal
theme and reaffirms his particular style.
Critics agree that Cabrujas enjoyed his greatest box office
success with “El Día Que Me Quieras” (1979). This extraordinary farce revolves
around the visit of Carlos Gardel to Caracas in 1935 for a special performance
for the dictator, Juan Vicente Gómez as well as his rather strange, if
lukewarm, relationship with the Ancizar family, whom he meets by sheer
serendipity. That meeting provokes an extraordinary decision by another
character, the romantic communist Pio Miranda…
That work followed by “La Noche Oriental” (1982), a tale spun
around the times of the Perez Jimenez dictatorship. Then, he produced “El
Americano Ilustrado” (!987), where he examines the notion of power within the
Venezuelan presidency, embodied in General Guzmán Blanco and the worship of him
by those who surrounded him.
In 1989, comes “Reverón, Retrato de Artista con Barba y Pumpa”
an intimate portrayal of a tale in the life of the painter Macuto. And in 1995
he completed “Sonny, diferencias sobre Otelo, el Moro de Venecia”, about a
tormented Venezuelan boxed based on Shakespeare’s text, which focused on his
existentialist declarations surrounding jealousy, portrayed here as a servitude
involving the loved one, the rival and the one dethroned.
“Profundo”, “Acto Cultural” and “El Día Que Me Quieras” are
considered to be his major works. They are the culmination of all his
theatercraft, his coupe de theatre, which in one way or another he did not
attain in his other works. This trio shows his uncanny ability to weave a tale
around the same spirit: the feeling conveyed by our myths and cultural beliefs,
a substantial cultural impetus that earned him national acclaim and recognition
in Venezuela and around the world.
Edgar Antonio Moreno-Uribe
Theater critic and cultural commentator in major Venezuelan
newspapers. Author of nine books about the history and criticism of Venezuelan
theater.
Cast
Pio................…………………………. Javier Terán
María Luisa............………………... Vera Soltero
Elvira...............………………………. Nucky Walder
Matilde..............…………………….. Carmen Parejo
Plácido.............……………………... Jorge Borges
Gardel...............……………………… Hugo Reale
Le Pera..............………………………Aníbal Bogliaccini
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