A new theatrical production titled “50 Madrugadas,” described as a “fado-play,” is set to debut in Lisbon. Created by actor and director Jorge Gomes Ribeiro, the piece is based on the evocative poetry of Ary dos Santos and is described as “political, social, iconic, and tragic” by its creator.
The “fado-play,” penned and directed by Gomes Ribeiro, will showcase performances by Sofia Ramos, Ricardo Abreu Raposo, and Pedro Pernas. Antonio Martins and Pedro Saltão will accompany them on Portuguese guitar and viola, respectively. The performances are scheduled at the Fado Museum in Lisbon on April 24, 26, 29, and 30, as well as on May 2 and 3.
Gomes Ribeiro elaborated on the production, stating that it touches upon the events of April 25 and the residual memories it evokes in contemporary times, exploring the affective memory that connects people today. The play reflects on the major legacies left by Ary dos Santos, the typical imagery of Lisbon’s neighborhoods, and cultural practices from the 1970s.
Highlighting the work of José Carlos Ary dos Santos (1936-1984), Gomes Ribeiro emphasized his profound contribution to poetic expression, especially related to songs that capture the essence of the city of Lisbon.
The director described the influence of Ary dos Santos, a prolific creator of over 600 songs, branding him as an essential poet who was historically undervalued. Gomes Ribeiro expressed, “The intellectuals of the 1980s often labeled him a song lyricist rather than a poet, yet he left behind a remarkable poetic legacy in several volumes,” promoting his critical prominence in the latter stages of Modernism.
Discussing the creation of “50 Madrugadas,” Gomes Ribeiro mentioned to Lusa that the inspiration stemmed from Ary dos Santos’ poetics, his reflections on April 25, and the resonation of significant themes like resistance and freedom. This, according to Ribeiro, invigorates and evokes a sense of patriotism and freedom that is integral to Portuguese identity.
“The piece playfully references April 25, incorporating period ‘slogans’ and terms rhythmically. The performers adeptly interweave these elements, recalling Ary’s friendly rivalry with Natália Correia. Despite their disagreements over poetic style, with Correia being overtly political and Ary adding jocosity to his critique, their relationship was marked by a mutual respect,” Gomes Ribeiro noted.
“50 Madrugadas” serves as a narrative that passionately captures how poetry enlivens songs, according to the playwright and director.
Gomes Ribeiro praised Ary dos Santos for his poetic dexterity acknowledged by musicians and writers: “He had an innate mathematical talent, crafting lyrics where stressed syllables naturally aligned with musical beats,” he remarked.
In addition to being performed by notable artists like Carlos do Carmo, Amália Rodrigues, and Fernando Tordo, Ary dos Santos’ poetry was also interpreted by singers like Tonicha, Simone de Oliveira, and Paulo de Carvalho.
His compositions won the RTP Song Festival on four occasions: “Desfolhada” (1969), “Menina” (1971), “Tourada” (1973), and “Portugal no Coração” (1977).
Commenting on the 1971 festival, writer and journalist Maria Teresa Horta highlighted Ary dos Santos’ contribution, emphasizing his exceptional quality which the audience often misunderstood. She criticized the negative reception he faced, attributing it to “ignorance” and urged a reconsideration of his value as a distinguished poet.
The cast for “50 Madrugadas” was chosen based on years of collaboration, according to Gomes Ribeiro. Pedro Pernas has previously worked with him in productions at Lisbon’s Villaret and Armando Cortez theatres, touring with musicals such as “Frankenstein,” based on Mary Shelley’s novel, “A Christmas Carol” by Charles Dickens, and “Pinocchio” by Carlo Collodi.
“I’ve worked even more extensively with Sofia Ramos,” said Gomes Ribeiro, praising her promising vocal talent showcased in her debut album “Tudo o Que Não Sei” released about a month ago. Ramos also participated in other musicals like “A Loja dos Brinquedos,” written by the director and José Guilherme, along with her roles in “Frankenstein” and “Pinocchio.”
Ricardo Abreu Raposo, described as “an excellent musician,” began collaborating with Gomes Ribeiro on educational projects and took part in Bertolt Brecht’s “The Resistible Rise of Arturo Ui” productions.
