Ernesto Claudio Presents El Cazador y el Buen Nazi at El Tinglado Theater with Jean Pierre Noher, Reflecting on His Career and Journey

Actor Ernesto Claudio is presenting “El cazador y el buen nazi” at Teatro El Tinglado in Buenos Aires alongside Jean Pierre Noher, reprising their roles in the fourth season of Mario Diament’s play directed by Daniel Marcove. The production dramatizes the 1975 meeting between Nazi hunter Simón Wiesenthal and former Hitler architect Albert Speer, exploring themes of complicity, responsibility, and justice in the aftermath of the Holocaust.

Performances are scheduled for April 7, 14, and 21, 2025, at 8:30 PM at Teatro El Tinglado, located at Mario Bravo 948 in Buenos Aires. The play features Jean Pierre Noher as Simón Wiesenthal and Ernesto Claudio as Albert Speer, with Gabriela Licht providing the secretary’s voice. The creative team includes Daniela Taiana for costume design, Héctor Calmet for set design, Miguel Morales for lighting, and Jean Pierre Noher also contributing to the musicalization.

Ernesto Claudio has built a career in Argentine theater, film, and television, known for his work in both dramatic and historical productions. His collaboration with Jean Pierre Noher in “El cazador y el buen nazi” continues a professional partnership rooted in shared artistic values and a commitment to socially resonant storytelling. The play draws on extensive historical documentation to recreate the dialogue between Wiesenthal and Speer, framing their encounter as a moral examination of accountability after genocide.

Teatro El Tinglado, an independent venue in Buenos Aires’ Capital Federal district, has hosted the production since its inception, providing a space for alternative theater that engages with historical and ethical themes. Ticket prices for the performances are set at $25, with reservations available through the theater’s official contact channels. The production’s return for a fourth season reflects ongoing audience interest in works that confront difficult historical truths through dramatic interpretation.

The play’s narrative centers on a pivotal moment in postwar history: Wiesenthal’s unexpected meeting with Speer in Vienna in May 1975. Through dramatized dialogue, the work investigates what was discussed, what remained unsaid, and what kind of exchange could occur between a victim and a perpetrator of Nazi crimes. By anchoring the story in documented history, Diament’s script invites reflection on the complexities of justice, memory, and the possibility of confrontation in the wake of systemic atrocity.