Veteran actress Idalia‍ Pérez Garay is part of the cast of “Flor de Presidio,” a play by Puerto Rican playwright Juan gonzález-Bonilla.

Pérez Garay describes her character, Monserrate, as a villain: Monserrate is the ‍typical villain. She is a bad woman whose purpose is to undergo these women to be‍ able to enter merchandise as drugs or even products that bring her visits. They have ⁤a way of traffic with resources from abroad. ‍From jail ⁤they send to execute ‍people,⁢ to make misdeeds.

The actress noted the⁤ complexity of playing such a⁢ character. I have touched the misfortune of making this character that is detestable but, simultaneously occurring, vital within⁣ the plot… It is indeed the conflict between good and evil. she said.

The Importance of “Flor de Presidio”

The revival of “Flor de Presidio” is scheduled to run from april 4-6 in the René Marqués ⁤Drama Room of the Center for Fine Arts ⁣in Santurce. ‍The cast includes Marilyn Pupo, Linnette Torres, ⁢Wanda Sais, Yamaris Latorre, and Aida Encarnación, under‍ the direction of Miguel vando.

The original premiere took place in 1989 at the Tapia Theater in ‍Old San juan. ‍The cast then featured Johanna Rosaly, Flor⁤ Núñez, Ángela Meyer,⁢ Carmen Belén ⁢Richardson, Sharon Riley,⁣ and Alba Nydia Díaz, directed ⁣by Dean Zayas.

Pérez Garay⁤ emphasized the⁣ importance of introducing new generations to notable works in Puerto Rican theater. Theater is very critically⁢ important in general, above all, the theater that‍ creates awareness, which educates and entertains. She added, The theater ‍remains an entertainment that educates, which suggests, even through laughter or crying. For me that is the great theater and what‍ must be promoted in a country. So⁢ that there is good theatrical health there must be all kinds of theater…even Spanish classics, ⁤the great North American classics, and the Puerto Rican‍ classics.

She also stated,It is important that the successes of the past be made together with new productions,because the theater has to be renewed continuously. Not ⁢only to‍ make the successes of the past; you have to do new works. You have to be up to date, propose new issues. Above all, ⁣it is important that school theater is rescued.

Pérez Garay highlighted the⁢ need⁢ for increased support⁣ for theatrical productions. It is indeed critically important that they are not‍ just three functions, as in ‘Flor de Presidio’. The first (original version) was almost ⁣a month on ⁤the billboard! Now there is so much demand for the rooms that only give ⁢three functions to one and three to another (producer). if there is no continuity, the theatrical companies begin to close, to drain.

Meeting with the Playwright

Pérez Garay noted that it is indeed common for casts to meet with the playwright, as they did with ‍Juan González-Bonilla. When⁢ they are alive, the authors are almost always coming and talking. It is indeed what it should be! Explain what the work is about, what motivated him to write it,⁤ and answers questions from the characters, ‍makes anecdotes… It was a very enjoyable and ‍good talk. She added⁣ that ⁣González-Bonilla allowed the actresses some adaptability with the text, which was originally written in 1984.

It was a very good experiance. He was very relaxed in his attitude toward‍ the text. ⁣We had a great ⁢time⁣ with him. He arrived, we applauded him, and [we enjoyed] the experience of returning to work with this great ⁣dramaturgy ‍and theatrical Puerto Rican that is Juan González, Pérez Garay said.

She clarified that director Miguel Vando aimed to remain faithful to González-bonilla’s original text.

Pérez Garay also mentioned that Vando ⁢was once her student, as were actresses Wanda Sais, Linnette Torres, ⁣Cristina Sesto, and Yamaris Latorre, and even producer Edwin Ocasio. For me,it is a delight to ⁢be sharing with my former Disciples who are now my colleagues and,also,my teachers.I am very happy to share⁢ that way. They see me‍ not as thier⁤ teacher, but as their work partner. This ‍is one of the great pleasures of being in the⁤ work.