This Feminist, Theatrical Adventure of Quixote in Female Version Must Go ON!
Isaac Asimov said that those who “speak English as their native tongue can count a number of blessings,” most of all being able to “read, in the original, the writings of William Shakespeare.”
That is a blessing I couldn’t enjoy indeed, but I was able to read in its original language the first modern novel ever written, “The Ingenious Gentleman Don Quixote of La Mancha.” “Gigantic Details” is my feminist rendition “Don Quixote” in female version, telling the seventeen-century masterpiece from a modern, imaginative approach.
It takes place at the backstage of a Broadway theater where every dream comes true. ALONSA, whose artistic name is “ELLA” (meaning “She” in Spanish) is rehearsing a big-time production of “Romeo and Juliet” in musical version, where greedy sponsors and producers are forcing actors to try ridiculous, even unsafe stage directions. She falls off the balcony into a secret corridor which magically connects to a small, off-off-off Broadway theater. That’s the place where ELLA meets SANCHA. A feminist adventure begins.
This play was selected by the Venus and Adonis Festival. We had to cancel the opening of my play because it runs way over the 90 minutes that the Venus and Adonis Festival requires for not being disqualified.
Originally, “Gigantic Details” is a three-act play with two intermissions. We made every effort to make an abbreviated version, including last-minute adjustments that the theater offered, but last time we rehearsed, we are still way longer than the mandatory 90 minutes. Not only we would be disqualified, but more importantly, performing just half of the play would be a disservice to the audience.
We will have to postpone the premiere at another venue where we will be able to perform the whole play with its three acts and two intermissions. We want to do it right, and finish it right where Don Quixote ends on the 2nd Volume, especially this year, which marks the 400 anniversary of the 2nd Volume’s first-time publication.
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This play was also finalist in the 2015 NYC Screenplay international competition.