Next weekend, after passing through Jerez at the beginning of October, the Cádiz actor Avelino Piedad will hit the stage of the Sevillian Lope de Vega theater playing the legendary Rafael de León, alongside Diana Navarro (Concha Piquer) and Alejandro Vera ( Federico García Lorca) with the musical-theater show ‘En tierra extraña’, a musical that claims the copla in a story that reflects on what it means to be Spanish and warns us against extremism in troubled times directed by Juan Carlos Rubio. In the meantime, let’s learn from Piedad, -who recently received the Best Actor award for ‘En tierra extraña’ at the XIVth edition of the Musical Theater Awards- some details of this singular musical and some of the professional concerns of one of the actors with the most great projection on the Andalusian scene.
You are currently on tour with ‘En tierra extraña’ sharing the stage with Diana Navarro and Alejandro Vera. How did you accept to be part of the cast?
– Well, with a casting of those of a lifetime. I have to say that one of the producers, who knew me from The Show That Goes Wrong, insisted he introduce me when he found out I was playing the piano. Juan Carlos Rubio didn’t know me, but I knew and admired his previous work, so I thought it would be a great opportunity to see me. The castings lasted, due to covid, for almost two months, and in the end I was selected. It was an intense and, at the same time, very demanding process for me, that after a long time I had to pick up the piano without playing it in public.
How was the previous preparation and rehearsal process?
–Well, I must say that it is much more pleasant and without trauma than what we are used to. Working with Juan Carlos was very revealing. The organization was ten, and we arrived with the work well established at the premiere. Within the guidelines that were very clear and specific, Juan Carlos always allowed our work as actors and you felt that you also participated in the process as a creator. The truth is, I don’t have many to compare it to, but this has been a round professional experience.
I, for my part, was preparing myself on the piano with Jose Ángel, and very well guided by Julio Awad, the musical director of the work, who treated me with all the love and affection possible so that I felt at confident when it came to taking the stage and playing the songs that accompany Diana. Her support was crucial, because as I said, I haven’t played at this level for a while.
“En tierra extrana” tells of a meeting between Concha Piquer, Federico García Lorca and Rafael de León. How do you deal with Rafael de León’s interpretation? What are the biggest difficulties you encountered in playing a character like this? ?
–First of all, we never tried to imitate anyone faithfully, apart from the fact that it would have been quite difficult, since there was little audiovisual material of at least the two poets. Also, I interpret a text that Juan Carlos writes according to what he believes and needs those figures to be during this hour and forty that the piece lasts approximately. Wow, in short, it is a poem of what these people were and, above all, of what they represent today. Being who they were, the three of us tried to do it with as much respect and admiration as we have.
In my specific work with Rafael, since he is from Seville, I don’t cut a hair with his Andalusian accent. And to immerse myself in the images, I read the two biographies that were available and, most importantly, revisited his couplets and his poems. All this has brought me a lot from my imagination of Andalusian, and especially the ties with my family from Cádiz have awakened me. He has also added a lot of substance, and he is still adding it with the passing of the performances, anecdotes and information that are provided to us by those who knew him in person and came to visit us.
One wonderful challenge this character brings to me is how, because of what happens to him, he has to approach scenes with both humor and tragedy. The work is set a few days after the start of the Civil War, and maintains the irony and humor that were characteristic of Rafael, both in the lighter and more dramatic scenes, without losing respect for the depth of what which is told, was a very tasty challenge as an actor. This sort of thing is what excites me the most.
What is it like working with director Juan Carlos Rubio and the rest of the team? What about your cast mates?
–Well, as I said, Juan Carlos is a director’s dream. Respectful, loving and yet, disciplined and energetic. As an actor, you know you’re in good hands right from the start and you know he’s taking care of you at all times.
Partners were something any actor would give anything for. I already knew Alejandro, and even so it’s wonderful to work with him in every performance, as tremendously generous as he is. Diana was an absolute discovery, for me and for everyone. Everyone knew the singer, the actress is now recognized by all who came to see her, and we were lucky enough to meet our partner. She’s a fabulous actress, with endless dedication and a brutal intuition. With performers like her, who are very well known on stage and headline their own shows, it might be possible that they have to negotiate depending on what, because theater is a team effort and has a lot of faith in the group. However, in Diana’s case, zero divisions and batas de cola, absolute trust in the director and his colleagues, and an immediate understanding of what theater is all about. She is, as I tell you, a wonderful actress from now on.
How is the audience reacting to the work?
– I will not cut myself into saying it wonderfully well. Both the audience that loves copla and knows Diana, and the more foreign or perhaps younger audience, who are amazed to appreciate her so much. The truth is that a summary description of her work doesn’t do it justice: Concha Piquer, copla, Lorca and Civil War are just brushstrokes and I would almost say excuses. The work is a very well written and told story, which ultimately ends up talking about a very current topic and invites reconciliation and understanding, all through scenes and emotions of all kinds. What is really theater itself, wow.
What has taking part in a Teatro Español and SOM Produce production brought you on a personal and professional level?
–Well, I think Spanish theater needs no introduction. The human team of the theater are unbeatable and are so good there that they would be performing there forever. And what’s more, being a recognized position in the profession, other colleagues you greatly admire come to visit you and leave you speechless when they greet and congratulate you. In that sense, it has been a wonderful opportunity and connection to the profession. SOM was also producing The Show That Goes Wrong, which I was already on. But being in this and seeing how they opted for you are incalculable words of encouragement.
The next 17 and 18 December you will be at the Lope de Vega Theater in Seville with the show. Why should we go to see her?
Well, for various reasons. The first is because you enjoy yourself. It is a story that captivates you from the beginning, gathering you with a lightness and a very dynamic humor, and ends up bringing you much-needed depth and reflection. People have fun. Another reason is the music, which not only has copla, but there is a surprise moment due to Concha’s years in New York. And another reason is that the Lope de Vega Theater is part of the fairytale space. He’s mentioned on a couple of occasions, and the comedy’s denouement happens right there. So it will be doubly special to see him in Lope.
What goals or projects do you have in the near future? Would you like to continue your career by combining theater and audiovisual fields?
-Absolutely. The two formats have a common background, and each lets you do different things. I would like, as a personal interest, to have a place in Andalusian audiovisual narrative and be able to tell our stories. And, of course, also participate in national audiovisual stories that help us understand each other better, as I think En tierra extraña does on stage. For me the audiovisual is a growing illusion.
On October 24, you received the Best Actor Award for ‘En tierra extraña’ at the 14th Musical Theater Awards, where you were nominated alongside actors of the stature of Antonio Banderas. How did you experience the night of the awards? How do you think this award will affect your professional career?
-Well yes, it’s all very strong! The things this profession has… The truth is, I didn’t get nervous until I sat there and the awards started being handed out. It’s a great evening where you meet different colleagues from the profession (among others Antonio Banderas), so it’s very nice and very welcoming. Receiving the award was above all a beautiful word of encouragement. This kind of thing has a very large psychological presence the first couple of days, but I think what really stays after the whirlwind of emotions is the feeling of support, like the profession or the theater has thrown you a smile or a wink. , and you feel more encouraged to continue.
For the rest, the profession continues to be a long-distance race in which one must continue to enjoy the journey.
Avelino Piedad He began his training and adventures in Seville, and moved to Madrid five years ago. His real beginnings were in the Interpretation Workshop and with the self-management theater that he made in Seville with, among others, Ridiculus Teatro. When he went to Madrid, he trained with professionals such as Fernando Piernas, Darío Facal and Ana Talenti. The first production he was part of was the musical ‘El jovencito Frankenstein’. From there he moved on to a non-musical comedy, ‘The show that goes wrong’, and after the pandemic he linked up with ‘El Gé’, a one-man show by Emmanuel de Martino, and is currently touring with ‘En tierra extraña’ , by Juan Carlos Rubio, following its successful premiere at the Spanish Theater at the end of last year and for which he won Best Actor at the Musical Theater Awards.
‘In a foreign land’ proposes an encounter that has never been documented, curious, playful and not improbable. And if the poet of Granada and Concha Piquer had met? It is 1936 and Spain is facing its most terrible years. In an empty theater, Lorca and Piquer meet briefly. They represent two social realities and two ways of understanding life and art. With the illustrious lyricist Rafael de León as witness and third in the running, the writer and tonadillera, figures of genius and talent, will test themselves in front of a piano and against the fourth wall. But, once face to face, the cards will be put on the table. The real reason for that meeting is to warn Federico that the situation in the country is irreversible. Concha has good authority that her name appears on various blacklists. “People like him” should flee abroad as soon as possible. For your safety. Federico does not believe that the blood will reach the river and that spirits will calm down.
The idea of José María Cámara and Juan Carlos Rubio, which the playwright and director himself shaped, this theatrical and musical proposal has received public and critical acclaim wherever it has been seen. On stage, the theatrical gives way to the exquisite voice of Diana Navarro. This duel of giants is also an unforgettable journey through the best of copla and popular song. The Lope de Vega Theater welcomes this drama with enthusiasm. It is on his stage that this fiction takes place. What better place for a beautiful encounter than the stages of this almost centenary theatre, a young space in that 1936 which, just like today, looked to the future with enthusiasm.
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