This production by the Animalario theatre company was awarded the 2005 National Theatre Prize in Spain. It was hugely popular and on the 15-09-2005 it began a national and international tour with over 100 performances.
In his review Pascual Serrano pointed out the elements Hamelin that are reminiscent of the film noir genre. He noted ‘Hamelin is theatre noir, if such a thing exists: dirty streets, shadowy lighting, rain, sirens, cries, knives and fear in the hearts of everyone’ (Serrano 2005). Marcos Ordóñez called Hamelin Mayorga’s ‘long-expected masterpiece’. He criticised however the decision to use an actor rather than a child to perform the role of Josemari, writing, ‘I believe Hamelin would benefit from a child actor, it would make the play more affecting and challenging’ (Ordóñez 2005).
Ordóñez, Marcos. 2005. Review of Hamelin at the Teatro de la Abadía, Madrid, ‘La ciudad en la que no reina un niño’, El País, 2 July (in Spanish)
Serrano, Pascual. 2005. Review of Hamelin at the Teatro de la Abadía, Madrid, ‘Lágrimas por la cloaca’, El confidencial, 4 June (in Spanish)
In this production two live rats were placed in a cage in the centre of the stage. The actors all sat in seats placed around the stage, entering the performance area when required. Some actors doubled up and performed two characters. Music by Michael Jackson (Wanna be Starting Something) was used.
More detailed information about this performance (reviews, technical specifics, press information) is available by clicking on the Hamelin section of the Animalario website.
The cast of this production changed during its run. The original Animalario cast that had performed in Spain were the initial actors. Later, Argentinean actors took over the roles.
This production of Hamelin was well received. Reviewers noted the intensity of the play and the demands that it placed on actors and audience members alike, because of both its sparse theatricality and its subject matter (Santi 2007; Herrera Labra 2007). In her review Marietta Santi also praised the effective use of spotlighting in creating atmosphere, and commended the addition of cello music (Santi 2007). Another critic noted that the ambiguous ending was unsettling because it suggested the prevalence of guilt in the city in the play (Herrera Labra 2007).
Herrera Labra, Pedro. 2007. Review of Hamelin at the Teatro San Ginés de Bellavista, Santiago de Chile, ‘Turbia pero necesaria’, El Mercurio, 1 June (in Spanish)
Santi, Marietta. 2007. Review of Hamelin at the Teatro San Ginés de Bellavista, Santiago de Chile, La Hora, 5 July (in Spanish)
Cello music was used in this production.
There is a video of Juan Mayorga talking in Spanish about this production.
The production included cello music.
Entry written by Gwynneth Dowling. Last updated on 6 October 2010.