Um Libreto para Ficarem em Casa Seus Anormais


Fri 9 Feb / 9:30pm & Sat 10 Feb / 7pm


7,50EUR • 14yrs+ 


Based on the text by Rodrigo García
Created and directed by Albano Jerónimo
Translation and artistic consultancy John Romão
Libretto and adaptation Mickael de Oliveira
Performers / musicians Albano Jerónimo, Ana Celeste Ferreira, Ana Lopes Gomes, Ana Rosa Teixeira, António Coutinho, António Parra, Carolina SousaMendes, Cláudia Lucas Chéu, Eliana Veríssimo, Helena Guerreiro, Joana Onório, Leonor Devlin, Luís Puto, Margarida Antunes, Maria Ladeira, Nuno Reis, Ricardo Gageiro, Rui Fonseca, Sofia Duarte Silva, Solange Freitas, Tiago Duarte, Vítor Rua
Dancers Francisco Rolo, Gonçalo Andrade
Music / opera Vítor Rua
Set design and costumes Tiago Pinhal Costa
Stagecraft Filipe Dominguez
Lighting design Rui Monteiro
Video Oskar & Gaspar
Video spot Tom and Jelly
Assistant director Cláudia Lucas Chéu
Production coordinator Francisco Leone
Executive producer Luís Puto
Produced by Teatro Nacional 21
Co-produced by Teatro Municipal do Porto, TNDM II, Casa das Artes de Famalicão, Projecto Crinabel Teatro
Approximate length 80 minutes 
The original version of “You should have stayed home, morons”, by Rodrigo García, employed stumbling and violent language to display stories told from a personal perspective. 
The company Teatro Nacional 21 makes use of that text, but doesn’t stick to it. It crosses another imagery, that of Werner Herzog in his masterpiece, “Fitzcarraldo”, the story of a music-loving German who establishes a company to exploit rubber, in order to generate profit that will allow him to make his dream of building an opera house in the Amazon come true. In this play, Albano Jerónimo blends both universes to weave his own fiction: to play a kind of Fitzcarraldo looking to set up an opera in Portugal. He teaches revolutionary principles to the musicians, sometimes to comply with his music-loving “dream”, other times to incite them to revolt against national politicians, constantly slathering the words of Rodrigo García with the music of Vítor Rua. By creating a disrespectful game, the fury of this opera counters the morbid seriousness of social masks and the crystallisation of “commonplaces”. “Exaggeration”, seen as a fair and necessary measure, eventually uncovers a fragile, restless, reflecting and fighting art.