Lautaro Perotti (Buenos Aires, Argentina, 1975) is the writer and director of Our Secret Acts, a thriller that opens its tour tonight at the Niemeyer auditorium. He discusses the work in a phone interview with La Nueva España, part of the Prensa Ibérica group.
How did Our Secret Acts play in Madrid?
The reception was outstanding. Audiences filled the seats, performances impressed, and the response left everyone feeling truly satisfied.
Where did the idea for this story originate?
The concept grew over several years. García Lorca’s Yerma had always captivated him; he reread it at different life moments. In time, he realized the narrative began from the consequences faced by a woman after a tragedy. He stresses that this is not a sequel to Yerma, but it clearly traces a starting point drawn from that influence.
People often compare it to Thelma and Louise, but it wasn’t intended to be that story either.
How did the project come together?
During the writing phase, the plan to collaborate with Carmen Machi and Santiago Marín was already in place, with ideas forming in the creator’s mind. The plan then shifted to align with calendars, and the cast gradually took shape, especially with Macarena García joining after initial talks. Rehearsals followed, with extensive textual study and exploration of the characters, incorporating personal experiences from the actors to sharpen the roles. The ensemble work proved crucial before any rehearsal began, giving the writer a clear sense of the people involved.
What was the production timeline?
About six weeks, perhaps a touch more, from conception to the stage. The process balanced the time needed for development with the realities of scheduling, ensuring a solid build before performances.
In Matadero the show used two opposing stands, while in Avilés it follows an Italian-inspired setup.
In practice the production can adapt to either arrangement. The goal is to tell the story most effectively in each venue. The Matadero decision favored a dual-front presentation because of the space, while Avilés presented a layout better suited to a single-line focus. The approach is to communicate the narrative from multiple angles when the space allows, enhancing the audience’s comprehension of the setting and the mood.
The show originated at Matadero and now begins its tour in Avilés.
The premiere in Avilés marks a return to a city where audiences have welcomed the troupe warmly, a memory tied to prior works and the shared experience of live theater. The theater in Niemeyer offers a new stage for the company, and the team looks forward to the fresh audience energy. The region is known for an educated audience that engages deeply with performances, presenting a rewarding challenge for the performers and creatives.
Argentina’s current president Javier Milei’s stance on culture has sparked concern in the artistic community. The broader situation presents a difficult context for artists, with economic pressures affecting daily work and opportunities. The sentiment is one of disappointment and worry about the impact on the arts sector, a challenge that has persisted for several weeks.