About the play:
Two sisters separated by distance and circumstance reunite. Events and years
have gone by, and they only have the memory of what the other one “used to
be.” They would like to recognize each other, even their most silent
secrets…in what we call “the past.” An unexpected encounter --an explosion
leading to the only possible outcome: finding one’s identity.
From the director:
To direct a work by Eduardo Sarlos one is challenged by a high reaching
goal. I first became aware of his works in the late 80's while participating
in the Latino Festival of New York. I had the opportunity to approach
Mujeres en el Armario,
a work that had great repercussions and revealed a very well represented
author. I was consequently moved to not only learn more about his work, but
also by the possibility of representation. For several reasons, the moment
was postponed, and I am now left to lament the fact that we cannot partake
of the joy in hearing his voice laden with tenderness, nor to experience his
strong yet warm presence. Thus, the commitment is now greater. I -along
with the other actors-must be accountable to concrete premises that Don
Eduardo left within the work: to present implacable death, solitude and
aging, threading these with the most opulent and realistic black humor.
Today, Teatro de la Luna has a commitment of honor. To represent Eduardo
Sarlos, and some more to Roberto Cossa, Carlos Gorostiza, José Ignacio
Cabrujas and to others who like them, leave within their work a commitment
and a void sometimes difficult to fill.
May Mujeres en el
pay homage, humble yet sincere to one of the great ones in Latin-American
theater. In your memory Don Eduardo.
About the Author:
Sarlos was born April 8, 1938 in his never to be forgotten Budapest. He
arrived in Montevideo, Uruguay from his native Hungary in 1948. In 1971, he
received a degree in architecture and began a phase in the visual arts,
which later proved to have been a precursor to his literary works. In 1979
he exhibited paintings and drawings where he first introduced the characters
that later on were given the spoken word in theater.
He had his 'memories' and all of the ghosts inherent in a
child who has been witness to a war as despised as it was illogical. He was
undoubtedly a passive and silent witness. Consequently he was not surprised
that in 1983 his brief yet meteoric career as a dramatist would be launched
with a work which would be a compendium for all that followed: La Pecera
(The Fish Bowl).
For fifteen years Eduardo Sarlos gave his very best to
Uruguayan theater. The theater itself found in him a lucid and talented
author. For the duration of his brief career he wrote more than twenty
works. One of his favorites being Mujeres en el Armario (Women in the
Closet), part of which is sketched in a town near Washington, D.C., and
where we find-among other themes-death approaching tenuously and in silence.
On January 7, 1998 Don Eduardo Sarlos left us his last drawing: his goodbye.