From December to March, Fátima Florez will be at the Holiday Theater, in Villa Carlos Paz, doing the summer season. The formula is the one that the actress has successfully carried out and imitator. It is a sequence of numbers that alternate acting, music, dance and where the protagonist is the interpreter, capable of becoming highly popular national and international figures, with just a few seconds in which she changes costumes, wigs and / or masks. This year the proposal is called Fátima is worldwide, and completes the cast with El Mudo Esperanza, Iván Ramírez and a group of dancers and singers. As always, it is produced and directed by Norberto Berenstein, the star’s husband.
—Why did you decide, a few days ago, to put the show’s title Fatima Is Worldwide?
—I had a lot of faith in the National Team. I had this title stored in my heart, but I couldn’t say anything for a matter of cabal. He had prepared a painting dedicated to what mobilized the World Cup, all the joys that brought us Argentines. The Selection deserves a whole painting, and the title has to do with it. In addition, the work includes celebrities from both Argentina and the world. So the title goes well on all sides.
—Which are the characters that they know that people are waiting for and are the ones that they know that they cannot stop doing?
—There are many characters that the public is waiting for you to play, the traditional ones and those that are becoming more current: show business, politics, national and international music. The ones I can’t stop doing: Mirtha, Susana, Cristina, Moria, Patricia Bullrich, Vidal. Shakira also had a very strong year. Now we add Tini Stoessel. We open with Marilyn, Liza Minnelli, Beyoncé, Gloria Trevi. Also, there is a sketch where we parody Big Brother; Everyone is coming in, even the Argentos.
—Why are you interested in including Big Brother?
—I like being temperature. It is a program that is a success; everyone sees it, or if they don’t, they know what it’s about. The house allows me the game to make a feast of entrances and exits of characters.
—How is the selection and construction of political characters?
—I think I build them very objectively. I try to read the popular unconscious. I think I’m quite right in psychology, the head, the essence of the characters I play. When I meet someone, they are always very satisfied and happy with my interpretation. I love meeting them in person, because that’s how I finish closing the character and capturing details that escape the camera. I am always a student; I seek to perfect the characters. And that there are so many antagonistic characters adds a lot to me as an actress and to the work, in the range of varieties of characters.
—Have you met Cristina Fernández?
-No. It is one of the few imitations I do, of which I do not know the real one.
—Who were you able to meet and talk to?
—Patricia Bullrich, yes. We have shared lunches at Mirtha’s. Patricia also came to see me at the theater. She carried too, and we shared lunch at Mirtha’s. María Eugenia came to see me at the theater. I know a few.
—How is your relationship with that triad of stars that are Mirtha, Susana and Moria?
-They are incredible. Since one can remember, they were already divas. It’s very strong. Mirtha, perhaps she is the one I get along with the most of the three; with her, we whatsapp; she is very cool. Same as Susana: I was lucky to work with her in 2017 and she is number 1, an incredible colleague. With Moria she also worked in theater; she directed me. I have a very good connection with all three.
—How is your international projection developing?
—In Uruguay, we did exhausted functions and added more. We were also in the United States in April and, as many people wanted to see us, we return to Miami next year and add Los Angeles and New York. Let’s add Mexico, Colombia: it’s going to be very global this year. Start global and continue global. We are going to carry out our art in other parts of the world.
—He has somehow invented a show format. How would you describe it?
—It consists of basing yourself on the artistic. I prepared myself from a very young age. I started as a dancer, I love dancing. I prepared myself as a singer, as an actress, to perform on stage with all the tools. Later, you may like it, it may seem better or worse, but I prepared myself. I was lucky to have a scholarship in Cuba as a dancer when I was very young. That also fired me a lot. And, working with Cibrián in the beginning. I worked with very demanding people, and then I was always demanding a lot from myself. I apply that in my show, which is the imitations, the interpretations, where I sing, where I dance, where I break the fourth wall, because I also like to improvise and play with the public.
—And how do you think about the circulation of money in the difficult field that is the theater?
—Those of us who love theater do not think about economics. If you are going to do numbers, no, not really. I am a theater woman, a staunch defender of theater. With my husband we are producers. We started well from the bottom, when with the savings we said: “We are going to invest the savings we have.” We started on tour as a child many years ago and thank God the public always said yes to us. What was coming, we reinvested so that the new show would be bigger and more luxurious.
—What would you like to do, in the artistic field, outside of this show format?
—In my work, I have the emotional part, a lot of humor; I am navigating a lot of terrain and that gives me great satisfaction. But thinking about other projects, it could be a very dramatic character. I really like these Colombian drug series; I would like to play a totally bad role, in a series of those platforms.
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