“Kill Hamlet”, the B

Historical referents of the Argentine theater with almost four decades of a shared journey that began in the course of the acting career at the National Conservatory of Dramatic Art in the 80s, Los Macocos, the Buenos Aires humor company that integrates Martín Salazar, Marcelo Xicarts , Daniel Casablanca and Gabriel Wolf, returned to the ring in 2019 and last year, with a first original title after 16 years, premiered kill hamletunder the direction of Sebastián Irigo, a show that returned them as a group to the stage and that this Saturday brings them back to Rosario, a city they frequented since the 90s, with that remembered Macoco stew in the best moments of the CEC shed, together with the premises of the Philodramatic Group Te Quisimos Con Locura, which at that time offered its version of Bye and good luck of the Buenos Aires community.

kill hamletemerged in the midst of a work process that took several writings of a text proposed in the midst of the pandemic, it is and it is not Hamletis and is not Shakespeare, or in any case it is an ingenious and crazy way, very much in tune with the stage logic of the creators of classics such as The fabulous story of the unforgettable Marrapodiof approaching an “untouchable” of the theater based on the logic that Shakespeare made a theater very popular and not at all solemn.

“Kill Hamlet so that he is reborn with all his humor and depth from the ashes of solemnity”, maintain the creators of this humorous band who, for this purpose, intervened the classic based on the story of four jesters who arrive in Denmark with the dream of being received by Yorick, the great court jester of Elsinore, but they arrive when the king has been assassinated and things in the Castle are not well. “Something smells rotten in Denmark and they are there,” they advance.

Precisely, the skull of the unfortunate Yorick is one of the many characters in this tragedy, the one that enables in the prince the already mythical existentialist phrase “to be or not to be, that is the question”, which here, and with the passage of time, it became comedy, as happens when tragedies are rethought.

“We haven’t been to Rosario for a long time, since at one time we used to travel very often, like once a month. All this journey reaches until 2010; then we stopped working together for many years and now that we came back and thought about a tour, we decided that we wanted to return to Rosario”, Martín Salazar told in advance.

metatheatrical humor

Macocos define kill hamlet as “a theatrical mamushka”, because it is a material that, by layers, is getting into a fiction from another fiction, assuming the great challenge of approaching with humor the work that, according to experts, examines the soul human, “and reflect it like no other, its efforts, something that allows us to play a fiction, within another fiction, within another. A work, within a work, within another; that is why we propose it as a theatrical mamushka”, they maintain about this proposal that it is neither a version nor a parody of Hamlet. On the contrary, they maintain: “It is a totally new work that tells the B side of the well-known tragedy.”

“This work is not an adaptation of Hamletbut a work that crosses Hamlet. We start from an image, and if we think about the image, or at least one of them, that represents the theater, that scene of the skull of Hamlet, that of the prince with the skull in his hand. We see that image and we already know what it is Hamlet, which is theater, the theme is that we come to tell the story of the skull (laughs), that’s why we say that this work is the B side of everything. And that skull is that of Yorick, the buffoon who is the only being who gave Hamlet a little love in the midst of so much madness,” Salazar said, adding that the original play, Shakespeare’s tragedy, “as we all know, It’s a ghastly tragedy, but in the midst of all that horror, the only one who gives the prince any real understanding is Yorick.”

In kill hamlet, Los Macocos give life to four wandering buffoons, hungry for the stage and the other, who by some dramatic miracle manage to meddle in the famous castle of Elsinore where the tragedy takes place. “These four characters are Yorick’s nephews and they get into the castle to finally represent the play that in the original work, Hamlet gives to some tragic people so that they can tell what really happened with his father, the king. Hamlet, to denounce his father’s crime, uses those actors and that play (he calls it “The Mousetrap,” a trap for his uncle Claudio, whom he considers a rat). That is a great metaphor of the work: the theater, through fiction and representation, denounces what is happening, beyond the fact that sometimes, in the theater, the metaphors end, as happened with Brecht or here with Teatro Open, and nothing can be represented and then you have to go out and say things as they are, ”said the actor about this dramaturgical work they did with the classic to see Hamlet “From the Macoco prism”.

With the humor that characterizes the band, leading the scenes to delirium, the logic of Los Macocos, from the beginning, is to put the actor’s job in the foreground in the present and also in perspective, given that some of the avatars that They are told about the artistic profession, they start with the tragedy in question, among many others. “What we tell, we tell with one more layer of theater within theater and from humor. Theater is fiction, here that fiction is humorous and allows us to bear the truth a little better. In any case, we really enjoy sticking our noses a bit into tragedy and especially Shakespeare’s poetry, but humor is a path for us. And if someone reads Hamlet With the eyes of today, accepting all the translations that there are, which are very many, it tends towards humor, and even in 1600 perhaps too; Let’s think that there was no TV, networks, or internet, people went to the theater to have fun, to be distracted; They went to the theater to see theater but they also ate, they fought, it was a big mess, a big fair (laughs). That’s why we say that Hamlet It is also full of humor. There are times when they tell us: “How good is this joke that they put in” and it is an original text of the work that we only dusted off a little”, highlighted the artist, who recognized that, even, the original text also has an anti-patriarchal logic in it. Hamlet’s attitude of opposing that paternal mandate, “which is the great question of this character: whether or not he should continue with that paternal mandate,” he stated.

humor to identity

Through a journey closely linked to training but above all to praxis, the humor of Los Macocos appropriated a language, perhaps with that concept that maintains that to be original one must return to the origin, and so much of the theater of the Río de la Plata, that of the Podestá Brothers, the circus and the clown, coexists very healthily in its stage production, with a humor that, while entertaining, invites reflection and lowers the line.


“Our work, what we have done from the beginning, since the 1980s, is popular theater and I am not referring to something massive that would even be a contradiction. But it is popular, a humor with a tradition that is Argentine and more precisely from the River Plate, which begins with the circus and the clown. We are faithful to that theatrical history that we always seek to continue paying for since we started, when the clown was very fashionable and still is, but those years were the boom, great European teachers came to Argentina. But studying, we came to the conclusion that our theater comes from there, from the circus, from the clowns, from the Podestá, and that imprint where clowning is mixed with tragedy, that is the humor of Los Macocos”, reflected the actor.

And about the political that from that humor reflects the language of Los Macocos, he closed: “Everything is political and the theater is much more so. We are always issuing an opinion and denouncing something, especially through humor, a place from which things are always denounced. And in this case, what we denounce or actually from that complaint we honor with this show, is all the comedians, all those artists who after so long of a pandemic continue to put the body on stage; These buffoons come out of the medieval plague to continue doing what they have to do, which is to entertain others despite everything”.

to schedule


kill hamlet, by Los Macocos, with dramaturgy and performances by Martín Salazar, Marcelo Xicarts, Daniel Casablanca and Gabriel Wolf, under the direction of Sebastián Irigo, is presented this Saturday, starting at 9 pm, at the Teatro Municipal La Comedia, by Miter and Ricardone. The proposal has directing assistance from Lucila Casalis, executive production from Jimena Morrone, lighting design from Leandra Rodríguez, lighting technique on tour from Diego Becker and Gabriel Haenni, set design from Marcelo Valiente, costumes from Analía Morales, choreography from Vanesa García Millán, original music by Axel Krygier, puppet design and production by Gerardo Porión and stage by Antonio Chávez, with general production by Sebastián Irigo and Los Macocos, and sponsored by the Teatrix platform. Tickets, from one thousand to 2 thousand pesos, are available at the theater box office during regular hours or through the system

“Kill Hamlet”, the B-side of Shakespeare’s tragedy with the humor of Los Macocos