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OPERETAS Only Musicals
One brand, one space, many stories
Since 1994 the authors Gustavo Palacios Pilo and Juan Candioti have created a path for Musical Theater where it did not exist. Originally from the city of Santa Fe, capital of the province of the same name in Argentina, they generated a true unpublished repertoire of musicals producing books, music and songs of absolutely original authorship. With this they marked a path as creators and as managers of a genre never before developed systematically in its context. With the academic and logistical support of professors Miriam Heredia and Alicia Ortiz, they began a path that generated the opening of new spaces in the urban area and that continues to develop to this day.
A style
In the musicals of Palacios Pilo and Candioti, many aesthetic aspects converge: from the traditional Broadway and West End musical to an inevitably Latin American and even local touch that makes their productions resemble the most traditional musicals and, at the same time, differentiate them . His works follow a language that builds on the convention of the Musical but at the same time they propose a different look, a daring that breaks the mold and projects a creativity based on the national identity of the authors.
Directors and producers of their productions, both authors have created both with an abundance of resources and with their extreme scarcity. This ability to adapt to one way of working and another has resulted in a diversity of views regarding the scenic (on the other hand, typical of Argentina) that, in some way, has been building a new poetics, a way of recreating the musical. from its operatic grandeur to its almost absolute dispossession. In them the strength of the text, the dramatic construction and the beauty of the music come together, added to a lyrical gaze that colors both the works with a melodramatic tone ("September, a musical to fall in love with", "While you drink your coffee", "Jélous! ”) to those of an epic and evocative nature (“I am, That Alfonsina, a Musical”, “Gallitrap, the fairy tale that they did not tell us”) without forgetting the comedy of intrigues that explores the camp/kitsch aesthetic such as “Bufa, life is a musical.
If we had to define it in some way, perhaps we could talk about a creative freedom that is based on the game, the extreme moments and the big ballads up to the choirs that merge one scene with another in a use that is sometimes classic and somewhat “ sondheim” of his narrative resources .
