Fernando Luque Takes on Hamlet in Jean Pierre Gamarra’s Bold Adaptation
Hamlet in Jean Pierre Gamarra’s version. (Photo: Pablo Macalupú Cumpén)
The iconic tale of Hamlet is back, and it’s being served with a side of nostalgia and a dash of modern flair, thanks to director Jean Pierre Gamarra. Now, you might think, “Oh great, another Hamlet!” but hold on to your deaths and daggers, because this one stars Fernando Luque alongside a talented ensemble that features Patricia Barreto and Alonso Cano, just to name a few. Shakespeare’s timeless tragedy returns to the limelight at the Municipal Theater of Lima, and this adaptation promises not just the classic drama but a sprinkling of musical moments that harken back to the beloved sounds of the ’90s. It’s nostalgia, but we’re not just talking about pop hits but the kind that resonates with the very human heart!
Why Does Shakespeare Still Pack the Houses?
Ah, the classic question: How is a play written centuries ago still able to fill theaters today? Well, classical theater doesn’t just talk about events; it digs deep into the heart of us mere humans! It addresses archetypes, conflicts, and emotions that remain timeless. You see, Hamlet’s not just dealing with some family drama; he’s grappling with the fallout of a dad’s untimely demise and mum’s hasty marriage to Uncle Creepy. I mean, step back and think about it—who among us hasn’t had a moment where we thought, “Gosh, my family is spectacularly dysfunctional!”?
The Soundtrack of Heartbreak
Now, Gamarra insists that the musical selections for this production are not just arbitrary ’90s throwbacks, but rather a tribute to Shakespeare himself, who understood the power of contemporary music to engage an audience. It’s like when your favorite geeky friend suddenly mixes Shakespeare with an epic ’90s playlist! This thoughtful blend isn’t a sacrilege; it’s Gamarra’s personal stamp, connecting the youthful vibe of Hamlet with the relatable angst of our teenage years. Plus, this ain’t just showbiz nostalgia. It’s more like emotional time travel!
Hero or Idiot? A Modern Perspective
Now let’s talk about Hamlet—visionary hero or foolish young man? Gamarra makes the bold comparison: Hamlet is akin to Prince Harry. Yes, that Prince Harry! A young man caught in a swirl of emotions, meddling choices, and lack of direction. It’s a tale of a boy, not a king, who seems to have taken a wrong turn somewhere between existential dread and family chaos.
The Language Debate: To Spain or Not to Spain?
Next up, we dive into the contentious waters of language. Why do productions insist on using Spanish from Spain when the audience speaks contemporary Spanish? Ah, the answer lies in the desire to preserve the integrity of classical works. Gamarra argues that it’s a disservice to dumb it down—after all, acknowledging your audience’s intelligence is key. Trust them to handle a little challenge! It’s like serving gourmet food and expecting your guests to recognize the fancy truffle oil!
Are We Here for the Art or the Instagram?
Now, let’s face the elephant in the room—social media. Are people coming to yell “#SupportLocalArt” or genuinely engage with Shakespeare? Gamarra doesn’t buy into the notion that people would sit through two and a half hours of Shakespeare just for a photo op. He believes there’s a yearning for beauty and a taste for culture, not just a quest for Insta-fame. Go figure!
The Universal Truth of Human Experience
Finally, in a world where cultural identity often dictates our experiences, Gamarra asserts that the themes of Hamlet transcend geography. The struggles, betrayal, and complexities of human relationships resonate worldwide. Whether you’re in Peru, Denmark, or the depths of your existential crisis, the tale of Hamlet serves as a potent reminder that we’re all in this chaotic family drama together.
So, if you’re in Lima until September 27, why not take a break from reality and watch Hamlet? You’ll find it’s not just an evening in the theater—it’s an exploration of the human condition, spiced with unexpected tunes and a contemporary twist!
Details
Dates: Until October 27, Thursday to Saturday at 8:00 PM, and Sundays at 7:00 PM
Tickets: Available at Joinus.com
Fernando Luque plays Hamlet in Jean Pierre Gamarra’s version. (Photo: Pablo Macalupú Cumpén)
Hamlet It has served as inspiration for countless adaptations for the small and big screen and, of course, for the stage. It is a story that the public, sometimes without knowing it, has enjoyed on different occasions and now has the opportunity to repeat the experience with the version of Jean Pierre Gamarra. With the performances of Fernando Luque, Patricia Barreto, Alonso Cano, Maria Grazia Gamarra, Óscar Yepez, Amaranta Kun, among others, one of the most remembered texts of William Shakespeare returns to the stages of the capital.
How is a play written centuries ago still able to fill theaters?
He classical theater It has that capacity because it does not speak about situations, but about human beings and archetypes. Contemporary theater usually focuses on situations, but these are ephemeral and tomorrow could not be understood. The human being, on the other hand, is always a human being and in the case of Hamlet it is basically the story of a destroyed family, that of a son in conflict with his father because he has abandoned him with his death and with his mother because she has married. with his uncle.
The musical moments of your version attract attention because they appeal to a certain nineties nostalgia. Why were these pieces chosen and how have the most purists of classical theater received the decision?
The idea of the music is not mine, but Shakespeare’s own. Shakespeare tends to be sacralized, but he was a man of the theater who thought about his audience, had a mastery of writing and was someone who used contemporary music in his plays so that the audience could remember the verses of his plays. I use music from this time because I always put a personal stamp on my work and for me pain always has a sound. Furthermore, Hamlet is a boy and this made me remember my teenage years and the music I listened to.
Hamlet and Horacio in the version presented at the Municipal Theater of Lima. (Photo: Pablo Macalupú Cumpén)
The handling of lights and shadows on stage constantly reminds us that we are facing characters full of both light and darkness. Perhaps we are so accustomed to the hero-villain duality that we tend to call the vengeful Hamlet a hero?
To me he is just a conflicted young man. History has made Hamlet a kind of hero, but for me he is even an idiot. He is like Prince Harry of England, he commits stupidity and a half within his depression, pain and humanity. I see him as a boy who does not have the strength to be a ruler. His actions result in the absolute destruction of his lineage. Many actors and theater people, mistakenly, see him as a man when he is just a young man who could never be king.
Why do classical theater performances insist on using Spanish from Spain?
He contemporary Spanish It does not work for classical theater because it has been written in an ancient language in both Spanish and English works. I think it is a mistake to want to change it for the idea that this way the public will understand it better. In this country we have tended to minimize and belittle the public. There is a tendency to believe that our public is simpletons. If someone in the audience has a conflict, they have to get used to it.
Tickets for Hamlet are available at Joinus.com. (Photo: Pablo Macalupú Cumpén)
Within the public, have you not noticed the tendency that some attend these types of events merely for the opportunity to show their approach to cultural circles on social networks?
I don’t think anyone would watch two and a half hours of Shakespeare for a photo. Watching classical theater, going to the Municipal Theater and seeing famous actors does have an aspiration to achieve something beautiful, but I don’t think it is elitist. Elitism has changed, before it was going to the opera and today it is elitist to go to a bar so Cosas magazine can take some photos of you. I think people go, mainly, because it is a theater with affordable prices. If we have full seats it is because the public has discovered that they are thought of, their economy and even their aspirational feeling of not dying without having seen Shakespeare’s Hamlet. There are things that the Peruvian public wants and needs, but we do not give them because theater here is not based on the public. Since we do not have a public theater, we cannot talk about theater in this country; everything comes from private investment. People don’t go to the theater because they play things that don’t interest them and they aren’t going to spend their money to be bored. Theater has become an elitist trade for artists who believe that the public should pay for anything. There lies the crisis of theater in our country, but there is also the solution. I don’t need to offer them something cheap. The theaters are empty because the companies make fools of themselves with their dances on TikTok. You don’t conquer the public with a reelbut with a good work, with good communication and respect.
Hamlet will be presented at the Municipal Theater of Lima until September 27. (Photo: Pablo Macalupú Cumpén)
Can the Peruvian spectator, by virtue of being Peruvian, find a special bond when watching Hamlet on stage?
None, they have no ties with Peru just as they do not have any ties with Denmark or England. That’s the beauty of classical theater, it’s talking about human beings. Children who have conflicts with their parents exist in China, Arabia and Spain. The work with Peru does not talk much, Othello perhaps dialogues with the problem of violence against women. Hamlet does not talk about government or power, but about the suffering and pain caused by the betrayal of your parents. We children are born to make our parents suffer and parents have brought us into the world to disappoint us every day.
Hamlet will be presented at the Municipal Theater of Lima until October 27 from Thursday to Saturday at 8:00 pm and Sundays at 7:00 pm Tickets in Joinus.
