Nico Vázquez and his incredible transformation to make Tootsie: “In 40 seconds I have to go from man to woman”
As soon as the idea of producing and starring tootsie, Nico Vazquez He went home, climbed on a pair of heels and walked through all the rooms. She needed to see what it was like to live as a woman, at least what it was like to be in her shoes. And this first experiment gave way to a make-up test, a vocal training, a demanding routine to change her physique and a period of observation towards the women, to find out how they think, walk and express themselves.
And so, the gear began to take shape: trials, runs and the final start-up of a machine that already promises success. Because tonight go up to the theater Lola Membrives the film adaptation he played Dustin Hoffmann in 1982, and before the curtain rises, they have already sold out more than 10 performances.
“I would tell you that He is the most beautiful character I have had to play”, says the actor in an extensive talk with teleshow. In the comedy, Vázquez assumes two characters, which he enters and exits in a matter of seconds, and that demands a greater challenge. tootsie tells the story of a bad character actor (the character will be called Santiago, like Nico’s brother who died in 2016)) who hasn’t been hired for years and, desperate to raise money to put on a play, decides to dress as a woman and audition for a role in a soap opera. To his surprise, he is chosen and the production becomes a success, so he must keep his double identity (which he names Dorita Sanchez).
Everything changes when he falls in love with his co-star, played by Juliet Nair Bald (a role played by Jessica Lange in the film), and she will have to decide between continuing with the farce or giving her feelings the green light. Vázquez assures that the work has not lost its validity even though it is over 40 years old and that some situations were adapted to current times.
directed by Mariano Demaria, The setting promises a dazzling stage design and a red curtain with 82,654 embroidered sequins is already hanging, welcoming and anticipating what is to come.
—It’s coming tootsieWhat are we going to find?
—With a comedy with a lot of laughter and a spectacular love story, very faithful to the film. Obviously, with a Broadway level setting. I’m very, very happy with what I think is going to happen, very proud. You will not miss everything you saw in the movie. And then there are surprises, because obviously, theater is different from cinema. You in the short cinema, the actor is made up for four hours, here in 40 seconds I have to go from man to woman, I have 19 costume and makeup changes, there are tremendous changes of set design, I don’t know, about 20. So, the direction of Mariano based himself on that, on not losing any of the essence of the movie and, obviously, I think comedy is a little more enhanced because theater allows you that, you’re more on the surface, more alive.
—Tell me a bit about the transformation you did for this character.
—Yes, a matter of the character requiring it. To begin with, you have to change gender, for which I had to encounter a lot of things, get very close to the woman, right? So I started working a lot at home, about six months before, everything that had to do with how to sit, walk, talk. Then I made a very big physical change. I am of a fairly large structure, I measure 1.83.
—You are so skinny.
—I lost 5 kilos with Daniel Cajarabilla, who is a coach that I have been working on, the opposite of that. Around there to be, as well marked. He disappeared his arm, the little ball that I always had marked, my shoulders, we began to shrink a little everything that was the waist. That required quite a strong physical and aerobic change from me. The voice mixed with Vir Modica, who is the vocal director, was fundamental for me. I started a long time before alone and the first day I showed it to her, she told me: “Yes, this is it”. “Okay, how can I keep it for so long without hurting myself?” The makeup helped me a lot to find that beauty that the female character has to have.
—How many hours does it take you to get into character in each role?
—Now it is more immediate because I have been working for many months. At first it was more difficult for me to enter. When she went to a rehearsal she would say: “Oh, my voice is gone! I do not find”. Now I have been working for so many months, it was six months of really hard work and a month and a half rehearsing with my colleagues, that I have to have it very well, because it happens in the work that I go from man to woman in a second. They transform me in 40 seconds, I change 19 times and around there, I speak as a man and a woman five times in the scene I have with Diego Hodara. So, the male voice and the female voice have to appear. I think the work there is noticeable.
-You have to mechanize it…
—Well, there is the director, who is the one who tells me “this yes, this no, wait, this happened”. Sometimes when my posture goes, which really requires a lot of concentration, because the woman stands much more upright and has a different way of walking, and the heel kills you. Give me your hand: I admire you very much, you and all women (Laughter). I am very attentive to that. It is wonderful what is happening to me on a personal level also with the character. It is very beautiful what I found.
—A challenge in your career.
—Far away, and I think that until now without having tried it with the public, I would tell you that it is the most beautiful character that I had to play, because it has that fold of being a man for a moment, a woman for another moment and encountering this wonderful story.
For some time now, Nico is also the producer of his works. With on the other side of the bed and one week nothing more the public accompanied him, both on Corrientes Street and on his repeated tours throughout the country. For tootsie associated with RGB and with Preludio Producciones. “I liked this role too much, to a level that I want to have the luxury of producing something or directing again, where I am not on top, where I can just enjoy that and not be on stage at the same time, because all together it really requires a long time and it burns me,” he explains.
—It must also be difficult to get out of the leading role because people love you and you always make hits. Do you think the day will come when you stop acting or would you combine a stage of each role?
—Sometimes I wonder and yes, it’s one thing to say it, another thing to do it. Acting for me is energy, going on stage is love, gratitude. It took me a long time to get to where I am today, so every time I go on stage, I enjoy it and I also meet that boy who did the imitations at my grandmother’s and grandfather Anselmo’s house. Not a day goes by that I get to the theater and I don’t look at the marquee and realize where I am. So when I do it, I want to do it because I need to rest to take a vacation. I really miss the laughter, the energy. It is something that does me very well, my person. So, I find it difficult, but I do want to face a project where I can only take care of producing and directing other actors to put the magnifying glass on that and not always on me, leaving my ego aside a bit.
—This season there will be a lot of competition in Corrientes street. All the rooms are full and tanks are opening with a lot of investment. How do you get along with that? Are you looking at the next door?
—I don’t like the word competition, I understand from which side you say it because it’s true, when we go out to work the medium, the box office, inevitably leads you to that word. But it doesn’t have to be competition, it has to be: there is a lot of theater, there is a lot of diversity, there are many proposals. It makes me very happy. It makes me sick when a show starts and ends quickly or when an actor stops me at the door to tell me: “Hey, I need to work, next time keep me in mind.”
“Does it happen very often?”
—Obviously, and more now. I begin to understand many friends that I admire, I always put him on the list first to Adrian Suarit happens to Gustavo (yankelevich) too, but the quotas are few. So sometimes, I say to that actor: “Forgive me, what happens is that right when they auditioned now the ensemble was already half assembled but rest assured that I will keep you in mind for what comes next”, because I was on that side . And that is what counts tootsie, the character that goes to the casting, is not left, is not left and the desperation is so great that he ends up dressing as a woman, imagine. So yes, it is happening to me and that is why it is good that there is so much proposal, so much theater.
—And what is it like to produce here in Argentina with the costs? You always bet.
—It is not easy, but it is beautiful because it generates a lot of work, because it generates a lot of happiness for many families, here we are 80/90 families, but I am not going to lie to you, it is not easy, that is, a work that we started producing nine months ago. pre-production and in seven months we began to know what the scenery was going to be like. I had no doubt what had to be done. Let’s start freezing, let’s get money from anywhere and start freezing, because in three months this is going to come out a lot more and we don’t know where we’re going to be standing. So there is also an immediate thing that one needs, to be able not to fall asleep because what is worth one thing today, tomorrow is worth something else and that is logical.
“Does that distress you?” Does he alert you?
—It worries me, it anguishes me, but hey, today is also what we have to face and we have been dealing with this for a long time, right? We’ve been doing this for many years and it’s something that hopefully at some point we’ll be able to handle because that also takes away from us as producers the possibility of giving the public a logical input, I’m still doing it, luckily. You are going to have a ticket that the show should be worth more and I try to… And we talked about it with Gustavo (Yankelevich) and I know it’s worth putting two more Lucas, but let’s leave it here. And above I know that it should be worth it but give me the cheapest, what is the most we can do as a margin so that the theater continues to be popular? Because the theater has to be popular, because the theater was born being popular thousands of years ago, that is not something elitist. And luckily in my shows it happens, people come who have never seen theater and you have all the classes in one room watching my shows. And I want that to happen in all the shows.
—You’ve been full theater for several years, but don’t you tend to produce something for platforms, use the new alternatives to make fiction?
—I have been working for a few years on something that is somewhat late, which I hope will come out at some point. I don’t act, I do production there and I’m very happy because there is less and less to be able to show it and for it to happen. But hey, I learned that there are times, it doesn’t take away my sleep. I am a guy who really enjoys here now and sometimes I even forget that this is on the way. And thank God, I don’t like to cover everything, I like to go one step at a time.