“Disparate’ is a delightful work to see and do” « Diario La Capital de Mar del Plata

Set phrases, words that encourage double meaning, commonplaces, a delirious absurdity and a couple who talk and talk and try and try to communicate, without succeeding: language used as a stairway to the void. With those items, the work “Disparate” amazes, excites and does not lose validity.

Written by William Yanicola and acted by him and by the actress claudia mosso for fourteen years –premiered on January 8, 2004-, “Disparate” became a classic of the independent theater from Mar del Plata. Not the premature playwright’s death, which occurred in 2019, managed to put out the flame that ignites this story.

“I thought that when we started rehearsing live they were going to start going down, but nobody got down and people were still being offered”

The cast that will perform this Sunday in Cuatro Elementos.

That’s why he returned to the scene, renewed. It was Mosso herself who decided to direct the work, but instead of summoning a couple, opened the game: there are six couples that count “Disparate”, divided into two casts. One role falls to one cast, the other to the next. This is how the entire summer season and the winter months went by, with a fact that was nothing less: it always reached a very good audience.

This Sunday she will return to the scene: at 7:30 p.m. she can be seen in Cuatro Elementos Theater Space (Alberti 2746) with Hebe Amancay Rinaldi, Fausto Ruidiaz, Carla Areta, Maxi Mena, Viviana Gimenez and Robert de Large.

The other cast is made up of Gabriel Celaya, Cecilia Mesías, Milena Bracciale, Julio Palay, Belén Manetta and Leo Rizzi.

“We always work to a full roommany young people come from secondary schools, a movement was generated among adolescents who like theater, we are delighted, they are rediscovering Disparate”, Mosso understood.

And he considered that the piece qualifies to be within the calls “round works”. “It fascinates the viewer because it makes you laugh, think, identify yourself, there are parts where you can’t stop seeing someone in your family or something of yours,” he said. It has an attractive format to see and enjoy but at the same time it has a lot to reflect on. It is a delightful work to see and to do.”

-How did it occur to you to replace it but with two casts of three couples each?

-In the pandemic we had so much time to think. I met with Fausto Ruidiaz, who had worked with Guille in the last stage, and we talked about continuing to keep Guille’s work alive. Then the idea arose of summoning some directors to make Guille’s works with new perspectives. I said: “I would like to do a production of Disparate”. I’m not so much a director, I’m more an actress, but this is a work that I know to the letter. When we started thinking about the actors, many told me “I want to be”. We put that they had to be actors who had worked with Guille. When it was a year since his death, in 2020, we did a broadcast via Facebook and prepared something with the boys. I thought that when we started rehearsing live they were going to start going down, but nobody got off and people were still being offered. Then I came up with the idea of ​​separating the casts, I put together the groups according to how I thought the couples worked and that’s where it went. We thought it was a euphoria of the moment but the truth is that what happened to the people overwhelmed us.


Julio Palay, Gabriel Celaya, Leo Rizzi, Belén Manetta, Milena Bracciale and Cecilia Mesías, the other cast of “Disparate”.

-Did you participate in the writing process of “Disparate” together with Yanícola?

-When Guille gave it to me he told me: “Tomá, I want us to do this work”. But later in the creative process I did have contributions regarding the direction, things that emerged from the rehearsals, but with respect to the staging. Guille wrote it thinking that I was going to do it, she wanted her to be the actress. She has many things of the humor that we shared. For me it was a great honor because we were close friends, like brothers.

-You say that it is a founding work of Mar del Plata theater, why?

-That was a concept of Milena Bracciale. She is a historian of Mar del Plata theater. She believes that “Disparate” marks a moment, like when Mar del Plata’s theater begins to be defined more, or to take a little more flight, it reaches other sectors. Our path in the independent theater was a lot of work and at one point we began to feel that people began to see us. A whole chain of spectators was generated that now circulate through the cultural centers and that is generated by us. We Mar del Plata are capable of making a round work.

-Exploits the ambiguous capacity of language.

-The text is verbose. Couples talk all the time but they don’t communicate, they don’t understand each other, they can’t maintain contact, they use the word to avoid communicating. It is a very Argentine work, it is worked from the absurd.

-This work is part of the Yanícola Project, how is this project going?

-In September we have the opening of the Yanícola Festival, there will be many fun things, that we recover from years ago, things that Guille did. The other cast of Disparate will open the festival. We are also going to make Universo Yanícola, we collect scenes from other works. In addition, we are looking to do “Los fines”, which is another wonderful work, for the summer. And we are going to continue with a second season of “Disparate”. The Salvatti Festival is also coming, directed by Olivia Diab. There are works by Guille that premiered in Río Gallegos, in Paraná, in Buenos Aires. Guille’s work is there, people are discovering it.

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