By Colectivo Pequeño Teatro de Morondanga Directed by Roberto Suárez


  • Spanish
  • 95 minutes
  • +15

Humor and tragedy, satire and a reflection on death take the lead in this new production by one of the main figures in Uruguayan theater.

Chacabuco is an outlandish drama with touches of dark humor and the absurd. The family and patients of a charismatic therapist have to deal with his imminent death. Incompetent characters, selfish with their emotions and in a frenzied environment, try and understand the dying man’s attitude while showing us they don’t know how to live. After putting on Bienvenido a casa at Santiago a Mil in 2015, the Colectivo Pequeño Teatro de Morondanga, directed by Roberto Suárez, took on the task of rebuilding the Odeon Theater that, after catching fire on January 1, 1996 was closed down, leaving an empty plot. In 2017, while they were preparing what is now Chacabuco, they started rebuilding it themselves in order to be able to premiere their play there.

A collective creation by Pequeño Teatro de Morondanga | Directed by: Roberto Suárez | Cast: Mariano Prince, Óscar Pernas, María del Rosario Martínez, María Inés Cruces, Pablo Tate, María Soledad Pelayo, Pablo García, Bruno Pereyra, Chiara Hourcade, Gustavo Suárez, Walter Cruz | Lighting: Pablo Caballero | Set designer: Francisco Garay | Music: Nicolás Rodríguez | Produced by: Gustavo Suárez | Coproduced by the Teatro a Mil Foundation

—Pequeño Teatro de Morondanga, a Uruguayan group, has spent 20 years researching new ways of bringing stories to the stage. One of its most recent pieces reflects this: the play Bienvenido a casa, whose format means the audience had to go to the theater on two consecutive days in order to see the whole play.

—Its director, Roberto Suárez, is one of the most important figures in Uruguayan theater to have graduated in the nineties.

—The style of the majority of this group’s work mixes humor and tragedy: a contradiction that, in the words of Roberto Suárez, helps reflect onstage the ‘double standard’ that occurs in everyday conflicts. This style has even been compared to Ionesco and Beckett’s ‘Theater of the Absurd’ although, in an interview with Uruguayan newspaper El País, Suárez said that he prefers not to use that term.

Teatro Odeon: Located in Montevideo, Uruguay, this venue started to be used as a theater in 1925. In 1943, it was renamed the Odeon and in 1987 it changed its name again to the Carlos Brussa Theater. During these years, it was home to the Uruguayan Society of Actors and to the Teatro de la Ciudad de Montevideo company. On January 1, 1996 it was completely destroyed by fire and what remained of it - plus the land it stood on - were auctioned off. A Uruguayan-French couple bought the site and put it up for sale again years later. At this point, the company got in touch with them and suggested rebuilding the theater, an offer the owners accepted.

Collective creation: This is the name given to plays written not by one author but by a theater group which is collectively responsible for the writing of a piece in a creative process with several voices. It started being developed methodologically in the 1960s, as a way of breaking down the rigid notion that separated the concepts of director, author and text and as a way of questioning theater companies’ verticality.

—“A love story that ends with the remodeling of the Odeon Theater” – a report in Uruguayan newspaper El País on Pequeño Teatro de Morondanga’s work.

Chacabuco on social networks

On Instagram, @teatro_odeon

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