“it seems to be the avenue to see through the gears. But it’s not the speed, is our life, our money, our ambitions, all that we want for ourselves and for our children and that is being taken. “
When the director João Lourenço speaks of The Foxes , Lillian Hellman text written in 1939, and now brought to the scene in the Open Theater, is consistently talking about the country we live in today. When he adds “It’s horrible and these people will not stop”, is openly referring to both Hubbard family men driven by a greedy greed as the financial elites and the Portuguese rulers.
No is no coincidence that on the stage of Theatre is evidence of fratricidal struggle for power and money. “I remembered this piece for today I saw it at what happened in Portugal last year about families, power, money, banks,” says Lawrence. “We thought it was interesting how a family can break down and step on to each other, as we saw before us. We have the utopia that the theater can help anyone to think, but as the character of John Perry, perhaps those who see and are sitting are as guilty as the others do. “
The ultimate provocation this presentation of The Foxes is this: the audience is placed in the same place watching the events taking over the country, while passive spectator, obeying the rules who have not interrupt or interfere with the spectacle before you. “You have to do something because this is the shameless. These foxes now show up as well, have no problems in bite “, vents João Lourenço. The Little Foxes , in the original, becomes The Foxes this release. There is nothing small here. It’s all enormity.
Everything exists
The director agrees, so the diagnosis placed in the mouth of one of the characters by Hellman, dividing the world between those who devour everything and others who stand still to do. Written at the turn to the 40s and originally located in a small town in Alabama in 1900, The Little Foxes was inspired by family disputes of the author herself relatives, being brought to the contemporary theater Open – to beyond the natural resonances in the present text – by the introduction of mobile phones,
For the fight of Regina, here character played by Luisa Cruz and so seduced Bette Davis and Elizabeth Taylor in the movie theater, also involves an idea of ”liberation of woman “face to Hellman, a play in which the director finds echoes of Hedda Gabler or Dollhouse , Henrik Ibsen. Regina, impaired before the two brothers (Virgil Castle and Marco Delgado) in the division of inheritances given their feminine condition, then carries out a whole manipulation maneuver for the repair and correction of this injustice “in a way a brutal little.”
Still, the brutality allows you access to an upper floor to the brothers and nephew – with its fury to enrich crushing the poor, giving them unpayable loans to them after confiscating the lands – never ascend, staying always around the staircase occupies center stage, not daring to climb a single step. Then, subtly, Hellman seems to draw a line:. Regina steals the trampled, never the other
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