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A mi no me escribió Tennessee Williams (porque no me conocía)

By Marc Rosich
With Roberto G. Alonso

A woman of indefinite age explains her troubles. With a special tendency towards sentimental hyperbole, she exposes the disappointments that have made her the person she is today and is reflected in the excesses of Tennessee Williams’ heroines or the divas of song. Behind her stories appears an emotionally and economically displaced figure who fights for survival with the weapons of fiction. A piece with dramaturgy by Marc Rosich, which makes forays into dance, gestural theatre, classical text, playback, live song and performance, seeking proximity to the audience in an unconventional setting.

Roberto G. Alonso received a nomination for Best Leading Actor in the 1st edition of the Teatre Barcelona Awards 2018.

L’obra en paraules de Marc Rosich

Our protagonist invites the audience to enter what is her current residence: the open air, under a bridge. She ended up there after being evicted from her home by the bank. She has only taken a few clothes from her extensive wardrobe, which she dragged to the bridge one day with the shopping cart she borrowed the last time she visited a supermarket. The protagonist does not tell us her story directly, but resorts to the subterfuges of fiction, costume change after costume change, to explain to us the person she has become.

Thus, he tells us what his daily life is like under the bridge, with regular visits to the fair next door to let off steam in the shooting gallery.

Thus, he fables about what his imaginary meeting with Tennessee Williams would have been like and how he would ask him to ignite him with the fire of his words.

Thus, she shares with us how her love story with a bridge and road engineer ended, how he abandoned her under a bridge while he continued on his own path.

Thus, he remembers how he received the news of his eviction, with the unexpected visit, to what was still his home, from a laughing emissary from the bank.

Thus, he lets us glimpse the most intimate corners of his solitude and discover who is really hiding behind all the layers of fabric, makeup and fiction.

And so, he ends up convincing us that, despite its frivolous appearance, his is also political theater.

Throughout the piece, the protagonist is accompanied by an emotionally charged musical thread that mixes hits from the Spanish underground pop of the eighties with popular song divas such as Sara Montiel or Mari Trini, in a range that goes from the Mexican Chavela Vargas to the English band Muse. Alongside this music, the protagonist also gives us some sporadic quotes from her references, drawing from sources as diverse as the novel Out of Africa , the most fleshed-out Shakespeare or Strauss ‘s Rose Knight in his most sensitive aspect. And, of course, from her admired Tennessee Williams, creator of the heroines she would like to emulate in order to survive.

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