The Legionary, 10 years later
- Submitted by: admin
- Arts and Culture
- 10 / 07 / 2006
By Marilyn Garvey
Pancho García is one of our most hardworking actors, restless, Id say. Hes just finished the season of Chamaco with Argos Theater, his first work as a director The Eyes of Night and last weekend he exhibited once again The Legionary at Hubert de Blanck ward, in order to celebrate the 15 years of the Company directed by Orieta Medina and the 10 years of that premiere.
Pancho began early in life within theater and he was lucky enough as to work with some of the great figures of Cuban theater, lets just mention Raquel and Vicente Revuelta, Berta Martínez, Abelardo Estorino with whom he performed plays considered anthological nowadays, Mother Courage or Seems White are good examples. The priceless experience of Pancho has found a fertile ground in his collaborations with Carlos Celdrán, a spot where has been established a dialogue with the new generations of theater actors and where he has achieved remarkable successes in his presentations, especially in the several characters he performs in Life and Death of Pier Paolo Pasolini which won him several awards and recognitions.
The Legionary is another character which has given many satisfactions to Pancho as well as to the public that had followed the life of that monologue over a decade on Cuban and foreign stages.
The text of the Spanish Fernando Quiñones, directed by Susana Alonso, meets the audience as an intense dialogue between the actor and the spectators starting from the narration hectic sex life of the Legionary. Only a bed and an armchair appear as scenographic elements, there are not changes of costumes; its a very old lady remembering her past. The anecdotes come one after the other: the frustrated marriage, the infidelities, the life in the brothel, the failed maternity, and the several lovers.
Pancho establishes a warm communication with the public which becomes accomplice, assistant, speaker. The main character moves in a line of fine humor, disregarding rudeness, playing with the facts of everyday life, speaking about sex without taboos.
Why does The Legionary is still on theaters? Why does the public go season after season? Perhaps the secret lies in Pancho García's extraordinary performance, in his capacity to communicate with the public, in that experience that accumulates and delivers every time he gets on the stage with the same passion of the first time.