Friday, April 8, 2011

Musicals like and are here to stay

Perhaps the names of Geronimo Rauch, Ignasi Vidal and David Ordinas do not say too much-it the Daniel Diges-but sure have heard about his work. They are actors, and his case proves the existence of a phenomenon, slower and less flashy than some have wanted to paint and clear however: the consolidation of Music in Spain.

A strong track record has gathered in the cast of Les Miserables, the most successful production of the genre to date, with 97% average occupancy since its debut last November at the Teatro Lope de Vega de Madrid. Four months ago, Diges Ordinas told: "We have to set something up the four." And Rauch was already thinking about shedding "the desire to sing songs." And I wanted the public to know "from elsewhere, without wigs." And they want to see what they could do "beyond the characters' ...

In New York and London, four musical singers, the real stars for a wide audience, come together to mount your own show does not attract attention. Here, as noted Diges, "had not been done before." And for the first performance of "scripted show" Poker voices, the next day 25 in the Teatro Häagen-Dazs Calderón, there are barely thirty locations of over 1,000 that went on sale.

For the second date, May 23, newly opened, it goes down the same road. When asked about the resurgence of the genre, Julia Gomez Cora, CEO of Stage Entertainment Spain, situated in the assembly of Man of La Mancha, which in 1997 staged Paloma San Basilio and José Sacristán. "It showed that there was interest," says the woman in charge of the musical producer in the country, before noting that he lacked the financial capacity high precision.

"We were prepared. At first we had to invest a lot and had many years of losses," he recalls. Today, Les Miserables, the most successful of its 11 year history and whose production input invested EUR 2.5 million, has grossed at the box office over 10. About 50% of the public attending musicals in Madrid comes from outside the capital, the success has been for the company "the best news" that could receive.

"It encourages us to think that when things go well, people go," says Gomez Cora, and acknowledges that it has also meant for them a "big push" towards their next project, the "more ambitious" who have undertaken : Madrid in October will bring the Disney musical The Lion King, with an initial investment of 9 million euros.

The Lion King is one of the assemblies for technical and / or economic reasons can not be carried on tour. Others, such as Chicago and Mamma Mia!, Yes. "It allows us to capitalize on and extend the life of these securities, and continue to generate new audiences, if we are to Huelva and 70% of the people is the first time you see a musical, next time come here because they love the genre will "explains Gomez Cora." But it is a sine qua non that has been released in Madrid or Barcelona, "he qualifies and notes that about 50% of the audience comes from outside the capital.

The second Spanish producer by turnover , Drive Entertainment, also has successful titles on tour. Today I can not lift, the show of songs from Mecano, ending on 10 July in Pamplona after 6 consecutive years in the lineup and more than 2.2 million viewers. It is expected that 40 The musical, which is represented simultaneously in Madrid and Barcelona, reach one million viewers with the national tour that begins May 26 in Almería.

Neither Poker artists voices or Julia Gomez Cora doubt that at this time the Spanish spectator has become more demanding. "Before anything surprised them and now they have seen much, saying, you know," says she considers there is an audience of between 100,000 and 150,000 music fans "who see everything and the value" .

Others are surprised. "Man is that it costs more to bring the musical" muses the director of Stage, "are accompanied by women, but then are to be happier!". To select children who will perform in The Lion King, Stage has created a school where kids are taking classes from 8 to 12 years because, contrary to what happens in the U.S.

and England, in Spain there is no training performing arts in schools, as noted by Gomez Cora. In this coincides with the boys of Poker voices, as well as stress that is compensated in some way, with talent and passion. "Blow him from creating machines so young," jokes David Ordinas, and ditch, "Here, they like our freshness."

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