After attending a party that turned into a masked, capacity-limited gathering, Juan Echanove chose to pivot to comedy and assemble a stage version inspired by a cinematic classic, Ernst Lubitsch’s To Be or Not to Be. The production, brought to life by Okapi and adapted for the stage by Bernardo Sánchez, reinterprets the Lubitsch touch for a new audience while honoring the original spirit.
What elevates a film to classic status? To Be or Not to Be sits among the era’s enduring works. Some films remain classics in their own right, while others become irreplaceable milestones in drama and cinema. Lubitsch’s genius lies in anchoring a brisk, farcical narrative to a momentous historical event—the invasion of Poland—delivering sharp wit from a man who clearly loves theater and feels at home in the larger “theater family.”
Was it easier to translate that fact to the stage? It proved to be a formidable challenge. The cast comprises six actors and one actress, who perform 37 distinct roles. Lucía Quintana, portraying María Tura, is the sole performer who does not double into multiple characters, standing as the series’ heroine with a clear throughline amid the ensemble’s rapid transformations.
How does one execute this character ballet without losing balance? It requires unwavering concentration and the collective skill of every member of the company. Each performer carries traces of the roles they inhabit, a testament to the craft they bring to the production and its demanding pacing.
Do these character traces enrich the actors and broaden their wisdom? Yes, and the project endures as a lifelong commitment. The company has been collaborating for about a year, with roughly six months more anticipated. A character can become deeply meaningful, but it is essential to stash it away when needed and live in the real world. The performers often conclude shows with a quiet moment of camaraderie, perhaps a beer with colleagues to toast the performance.
What does the character of Joseph Tura contribute to the performers personally? On paper, Joseph Tura appears as a smug, arrogant actor, sometimes a bully toward colleagues. Yet beneath that surface lies bravery and a readiness to do whatever it takes to capture attention. Some view him as a difficult actor, while others recognize the complexity of his drive. Through introspection, the performers explore elements of Tura’s behavior and craft a playful, natural portrayal that remains authentic.
Is writing without considering Rafael Azcona ever possible for this company? It remains a guiding approach in their process. The actors bring to life a way of thinking shaped by their education and the influence of Rafael Azcona, whose imprint helps connect the everyday to the absurd. This mindset invites a sense that society adapts slowly, while art holds a mirror to those changes. Many writers have walked in Azcona’s footsteps and shaped this sensibility for modern audiences.
Mallorca still mourns the death of Agustí Villaronga. His cinema was deeply personal, marked by acute observation and poetic clarity. He avoided easy paths and consistently conveyed genuine, human, and profound feelings. The director’s work remains a touchstone in Spanish cinema, and the collaboration between theater and screen keeps his memory alive in the ongoing conversation about artistic risk and responsibility.
And Trueba once remarked: “I don’t believe in God; I believe in Billy Wilder.” Does Lubitsch evoke a similar conviction for these artists? The theater enthusiast presents himself as a devoted admirer of Wilder, and the sentiment carries into Lubitsch’s universe. When Wilder faced a cinematic roadblock in Hollywood, he would retreat to his office and study a painting or a simple note on paper. Whether Lubitsch would do the same is a question that echoes in the minds of these cinema lovers. Together with Chaplin, Wilder and Lubitsch symbolize a powerful, influential cinema ethos that informs contemporary interpretation.
Could theater act as a solvent that loosens the grip of a brutal regime? Within the narrative, a troupe of actors becomes entangled in Poland’s perilous early days as German forces advance. The plot’s twists and turns place the troupe in position to resist through artistry and collective skill, ultimately proving that performance can outlast intimidation when creativity and courage converge.
Is laughter always liberating? When audiences respond with laughter, they join the performers on the journey. Shared hilarity becomes a bond that makes the experience collective rather than solitary, inviting spectators to participate in the storytelling and feel the lift of the moment together.
What does theater mean to the performers in their lives? For them, theater remains a lifelong vocation, a mode of life and a continuous practice of being an actor. It is a way of thinking that shapes decisions, relationships, and daily routine, reinforcing the discipline that sustains a stage career across years and projects.
What role should theater play in times of war? Works that entertain can coexist with works that provoke reflection. The theater ought to retain its function as society’s mirror, offering a space where audiences confront reality while still finding moments of relief and insight. That dual purpose makes the theater uniquely relevant, especially in unsettled times.
Does Putin’s ideology resemble any aspect of Adolf Hitler’s? The answer is unequivocal for the speakers: yes, a belief in racial or national supremacy remains a dangerous parallel. The comparison underscores the importance of vigilance, dialogue, and the arts as a counterbalance to dogma and aggression, reminding audiences that culture and humanity stand as a shield against tyranny.