Note published in The Nation, November 26, 2004
Chita Rivera and Paul Gorlero in Buenos Aires ----------------- Chita Rivera and Gwen Verdon in Chicago
A star that shines with simplicity
By Pablo Gorlero
arrives at 7 am, after nine hours of travel, smiling and without the slightest trace of fatigue. Immediately, and without knowing almost no one previously shared kisses and hugs, the kind that pinch-and access to chat with who comes close. Without releasing her friend Valeria Lynch, who invited her to participate with a talk, in its 3rd International Congress of Music and Operas Rock, Hard Rock Cafe Chita Rivera shows that the real stars are able to demonstrate humility. "Being in Argentina is a gift, a haven," he says.
They met in New York when he went to see Valeria Kiss of the Spider Woman before its premiere in Buenos Aires. Chita never came to the country, but saw the artist from Argentina in videos and never tires of praise: "It takes over the stage, never goes unnoticed and is masterful."
daughter of Puerto Rican, is one of the great lights of Broadway and worked to play important roles in major musicals: Side Story, Bye, Bye, Birdie, "Chicago", Sweet Charity, Kiss of the Spider Woman and Nine , among many others. In turn, worked with top choreographers and directors: Gower Champion, Jerome Robbins, Bob Fosse and Harold Prince.
- Are you aware that part of the history of musical comedy?
"That you tell me is inspiring. When you are doing is truly what you love, you find it incredible to have been lucky to have been part of history. Always appeared at the right time in this race. Yes, I worked hard to get everything, and nothing ever hit me up. But when I look at some video, I can not believe because you advance and forget what he did. Usually, one thinks of what is being doing and what will be done.
"But many people like this trip egomaniac ...
- (bursts out laughing) The feel part of the story is a very comforting feeling, a prize.
- Are you a reference?
"When I see a talented artist dancing in some work and then I find the exit and told me that did this because I was inspired, or because he wanted to be like me, I feel great. But I also happened to me. Many years ago, was doing a show in California with Liza Minelli and came to see Gene Kelly and Fred Astaire. I wanted to die. I was very nervous because I could not believe that they came to see me. One does not think itself himself a great artist.
"You worked with the biggest ...
"Yes, but all were born talented. And more importantly, all left the choir. Sure, each has a different style that sets it apart. Jerome Robbins was almost an acting coach to apply the drama to ballet. It was the exact combination needed Side Story. Michael Kidd was more athletic and had to be an acrobat to dance with him. Fosse was very intense, very neat, sleek and his movements were very small. We dissected and gave life itself to every part of the body. In fact, his choreography could bring back problems. (He laughs.)
- Do not yielded at the time of creation?
"I asked him freedom in a scene because I loved to fly. So my second box mounted in Chicago , the chair, which was much more complicated than the current version. It was a high stage and obliquely, so the front legs of the chair were long and the back, shorter. I thought I hurt my back, but gave me absolute freedom.
- What attributes the large current Broadway failures: a loss of direction or a search for new languages?
"It's a good question that I would love to answer. I do not know. There are many revivals . Farmers do not take risks and that leads to the loss of authors and composers who are dedicated to making movies or TV. There are good intentions, I made one, The Visit , which premiered in Chicago, and attended by names like John Kander, Fred Ebb, Terrence McNally, Ann Reinking, Frank Galatti, John McMartin and me. It was a dark book, but fantastic. It was a great success, but then September 11 happened and everything stopped. In short, nothing ventured into the theater.
- What is the reason?
"Money. It's embarrassing. Producers say that if a work does not work wonders on a tour, not commercial. They think people want to see stars. They are wrong. Do not understand why not give to win so much money and do good original work. We need it.
- Can you do a musical without a big production?
"Sure. You can do things with a decent number of people, if the music and the book are good.
his return in 2005 will debut a new autobiographical show written by Terrence McNally, with eight dancers and a group of musicians, led by choreographer and director Graciela Daniele Argentina. There will review your life, from childhood until now. "It was very butch, I climbed trees and broke everything. So my mom took me to study dance," he recalls.
- Which of your work reminds more honey?
"It's like having ten children and I wonder which I prefer ... You can not answer. It was great sharing a stage with Dick van Dyke ( Bye, Bye, Birdie ), but it was with Antonio Banderas (Nine ) or Brent Carber (Kiss ...).
"But in each note always remember with great affection Kiss of the Spider Woman ...
- What great work! I loved it because it is a fascinating love story, with a fabulous texts. He was very smart how did you see the audience the differences between people and how much can be learned to transform them into people more understanding. What better to have two men moving in a very small space, which must be protected so distinct! It's the best description of a love story. Changes observed in people to see that work.
- Harold Prince is the best director today?
I think it's an architect, has a comprehensive view of what it will look on stage. Once you do the scene, look at the picture and you gasped.
- How was your experience in the work Venice Argentina, Jorge Accame, he did on Broadway?
- What it makes me ask! I really liked, but not long enough. I was proud to play that role of the old. It is a very imaginative text and people cried a lot about the final. The failure of this magnificent work was one of the great disappointments of my life. The other is The House of Bernarda Alba . They had great reviews, but people did not come.
- How do you maintain humility, being a star?
-Knowing that you can not live or do anything alone. You need everything to let you know you're alive. And most importantly, there is someone bigger and supreme God. Once I arrived in Vancouver at night and it was all dark. In the morning, I ran the curtains and I found a blue lake, trees and huge mountains with snow capped peaks. I was very little girl. Not receive anything if you do not give.
Chita Rivera
They met in New York when he went to see Valeria Kiss of the Spider Woman before its premiere in Buenos Aires. Chita never came to the country, but saw the artist from Argentina in videos and never tires of praise: "It takes over the stage, never goes unnoticed and is masterful."
daughter of Puerto Rican, is one of the great lights of Broadway and worked to play important roles in major musicals: Side Story, Bye, Bye, Birdie, "Chicago", Sweet Charity, Kiss of the Spider Woman and Nine , among many others. In turn, worked with top choreographers and directors: Gower Champion, Jerome Robbins, Bob Fosse and Harold Prince.
- Are you aware that part of the history of musical comedy?
"That you tell me is inspiring. When you are doing is truly what you love, you find it incredible to have been lucky to have been part of history. Always appeared at the right time in this race. Yes, I worked hard to get everything, and nothing ever hit me up. But when I look at some video, I can not believe because you advance and forget what he did. Usually, one thinks of what is being doing and what will be done.
"But many people like this trip egomaniac ...
- (bursts out laughing) The feel part of the story is a very comforting feeling, a prize.
- Are you a reference?
"When I see a talented artist dancing in some work and then I find the exit and told me that did this because I was inspired, or because he wanted to be like me, I feel great. But I also happened to me. Many years ago, was doing a show in California with Liza Minelli and came to see Gene Kelly and Fred Astaire. I wanted to die. I was very nervous because I could not believe that they came to see me. One does not think itself himself a great artist.
"You worked with the biggest ...
"Yes, but all were born talented. And more importantly, all left the choir. Sure, each has a different style that sets it apart. Jerome Robbins was almost an acting coach to apply the drama to ballet. It was the exact combination needed Side Story. Michael Kidd was more athletic and had to be an acrobat to dance with him. Fosse was very intense, very neat, sleek and his movements were very small. We dissected and gave life itself to every part of the body. In fact, his choreography could bring back problems. (He laughs.)
- Do not yielded at the time of creation?
"I asked him freedom in a scene because I loved to fly. So my second box mounted in Chicago , the chair, which was much more complicated than the current version. It was a high stage and obliquely, so the front legs of the chair were long and the back, shorter. I thought I hurt my back, but gave me absolute freedom.
- What attributes the large current Broadway failures: a loss of direction or a search for new languages?
"It's a good question that I would love to answer. I do not know. There are many revivals . Farmers do not take risks and that leads to the loss of authors and composers who are dedicated to making movies or TV. There are good intentions, I made one, The Visit , which premiered in Chicago, and attended by names like John Kander, Fred Ebb, Terrence McNally, Ann Reinking, Frank Galatti, John McMartin and me. It was a dark book, but fantastic. It was a great success, but then September 11 happened and everything stopped. In short, nothing ventured into the theater.
- What is the reason?
"Money. It's embarrassing. Producers say that if a work does not work wonders on a tour, not commercial. They think people want to see stars. They are wrong. Do not understand why not give to win so much money and do good original work. We need it.
- Can you do a musical without a big production?
"Sure. You can do things with a decent number of people, if the music and the book are good.
his return in 2005 will debut a new autobiographical show written by Terrence McNally, with eight dancers and a group of musicians, led by choreographer and director Graciela Daniele Argentina. There will review your life, from childhood until now. "It was very butch, I climbed trees and broke everything. So my mom took me to study dance," he recalls.
- Which of your work reminds more honey?
"It's like having ten children and I wonder which I prefer ... You can not answer. It was great sharing a stage with Dick van Dyke ( Bye, Bye, Birdie ), but it was with Antonio Banderas (Nine ) or Brent Carber (Kiss ...).
"But in each note always remember with great affection Kiss of the Spider Woman ...
- What great work! I loved it because it is a fascinating love story, with a fabulous texts. He was very smart how did you see the audience the differences between people and how much can be learned to transform them into people more understanding. What better to have two men moving in a very small space, which must be protected so distinct! It's the best description of a love story. Changes observed in people to see that work.
- Harold Prince is the best director today?
I think it's an architect, has a comprehensive view of what it will look on stage. Once you do the scene, look at the picture and you gasped.
- How was your experience in the work Venice Argentina, Jorge Accame, he did on Broadway?
- What it makes me ask! I really liked, but not long enough. I was proud to play that role of the old. It is a very imaginative text and people cried a lot about the final. The failure of this magnificent work was one of the great disappointments of my life. The other is The House of Bernarda Alba . They had great reviews, but people did not come.
- How do you maintain humility, being a star?
-Knowing that you can not live or do anything alone. You need everything to let you know you're alive. And most importantly, there is someone bigger and supreme God. Once I arrived in Vancouver at night and it was all dark. In the morning, I ran the curtains and I found a blue lake, trees and huge mountains with snow capped peaks. I was very little girl. Not receive anything if you do not give.
Chita Rivera Rob Ashford, in Buenos Aires
Participants at the 3rd International Congress of Music, organized Letamendia Mariana Valeria Lynch, is the American choreographer Rob Ashford, who won a Tony Award.
When he first came to Argentina in 1996 to choreograph Kiss of the Spider Woman , loved the country and its people. He came back five times. "I discovered passionate people and I have great friends like Valerie and Sandra Guida. I have other Argentine friends who now live in New York. Coincidentally last night I was with Gustavo Wons, who works in Fiddler on the Roof .
Ashford worked in musicals as Anything Goes, Crazy for You, Kiss Me, Kate, Seussical and was the choreographer of Thoroughly Modern Millie and The Boys from Syracuse . "I like that the dance serves to tell a story, not only to create the right atmosphere. That is, if you take the dance, the story makes no sense. Many times, choreographers create an atmosphere only instead of telling stories, "he says.
has eager to stay in Argentina to direct or do choreography. "I'm talking to Valeria. We should Victor Victoria." As his Chita, also attacks the producers: "Very few Broadway shows are works of art. All have in mind the commercial side. This is not good. There are more experimental music off the circuit that are very good. I'm working Smarty in a simple and sweet story that requires nothing great and does not need stars. The money is killing the art, "he explains.
When he first came to Argentina in 1996 to choreograph Kiss of the Spider Woman , loved the country and its people. He came back five times. "I discovered passionate people and I have great friends like Valerie and Sandra Guida. I have other Argentine friends who now live in New York. Coincidentally last night I was with Gustavo Wons, who works in Fiddler on the Roof .
Ashford worked in musicals as Anything Goes, Crazy for You, Kiss Me, Kate, Seussical and was the choreographer of Thoroughly Modern Millie and The Boys from Syracuse . "I like that the dance serves to tell a story, not only to create the right atmosphere. That is, if you take the dance, the story makes no sense. Many times, choreographers create an atmosphere only instead of telling stories, "he says.
has eager to stay in Argentina to direct or do choreography. "I'm talking to Valeria. We should Victor Victoria." As his Chita, also attacks the producers: "Very few Broadway shows are works of art. All have in mind the commercial side. This is not good. There are more experimental music off the circuit that are very good. I'm working Smarty in a simple and sweet story that requires nothing great and does not need stars. The money is killing the art, "he explains.
Some of his works
Can-Can (1953), directed by M. Kidd, as a replacement in the chorus.
Mr. Wonderful (1955), co-star with Sammy Davis Jr.
Side Story (1957) as Anita, led by J. Robbins.
Bye, Bye, Birdie (1960), starring with Dick Van Dyke.
Sweet Charity (1967), star on tour, led by B. Fosse.
Chicago (1975), as Velma Kelly, directed by Bob Fosse.
Kiss of the Spider Woman (1995), directed by Harold Prince. Nine
(2003), with Antonio Banderas, as Liliane LaFleur.
Can-Can (1953), directed by M. Kidd, as a replacement in the chorus.
Mr. Wonderful (1955), co-star with Sammy Davis Jr.
Side Story (1957) as Anita, led by J. Robbins.
Bye, Bye, Birdie (1960), starring with Dick Van Dyke.
Sweet Charity (1967), star on tour, led by B. Fosse.
Chicago (1975), as Velma Kelly, directed by Bob Fosse.
Kiss of the Spider Woman (1995), directed by Harold Prince. Nine
(2003), with Antonio Banderas, as Liliane LaFleur.
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