Without a doubt, he is among the most popular actors and comedians in Cuba. It is synonymous with sympathy and talent, two ingredients that add, if effort and work capacity are added, a name: Osvaldo Doimeadiós, who, however, multiplies in others, called Margot, Feliciano or someone who in addition to facing comic roles and serious, assumes another no less difficult: the director. The multifaceted man of theater, cinema, TV and radio, he approached Trabajadores this end of the year:
Long before transformism as a legitimate art took hold in Cuba, you were a pioneer with characters like Feliciano and especially Margot, what would you say about those experiences?
In 1987 I regularly started to make humor with my Salamanca group and it was common in our practice to incorporate a gallery of female characters into the repertoire and that not only I interpreted, but other actors as well, so from the beginning it was something natural, we saw it without any prejudice. Then in the nineties came the boom of transformism. I know how difficult it was for some to conquer that space, which in our case we already had in the theater and then with Margot on TV in a space like Sabadazo.
You are recognized as a multiple actor, and praised roles such as that of the recent My Own War confirm this, however, many in the audience of just appearing in a theater are already smiling. To what extent has the comedian marked and prevailed over other histrionic registers?
Indeed, even if a character appears playing in the most dramatic chord, people usually smile, it is something that I feel more in the theater because I have the audience closer. Somehow that makes up for the input, but it forces me to dive deeper into character tracing. I think that over time I have reconciled with that, which I admit at first bothered me a bit, but at the end of the day that – let’s call it histrionic presence – is something that is part of my personal baggage.
You direct, and in addition to musical shows, recitals by notable singers, you have rehearsed it in the theater, with unipersonal members who also belong to you as a writer, in the case of the well-remembered Aquicualquier @ or complex productions such as the successful Island Office, what can you comment on it?
I came to the direction through the direction of actors, and by necessity. Although I do not want to separate myself from acting, which is still my greatest vocation, every day I get involved in new directing jobs. I like to work and I believe in the value of all genres, I do not discriminate against them, for that reason I do not object to musical shows, concerts, humorous shows, dramatic ones and those that combine all those ingredients. Each one is a challenge and a different game.
Andrea follows in your footsteps as an actress and even as a playwright. Do you think then that the daughter of a cat hunts a mouse?
Genetics plays its part without a doubt and the environment plays a role, but if she had no talent it would not have prompted her to follow in my footsteps. Andrea is a young actress with concerns and with the ability to write. I insist on it, that he develop this trade, so necessary on the Cuban scene and in the media. We need even more scriptwriters within humor and better if it is someone young, without prejudice and gender perspective. The experience of working with her in the staging of QuoteIt was very beneficial for both of us and I hope that we will continue to collaborate on many more projects. We are very critical each with the work of the other.
In what situation do you see the humorous panorama of the patio?
Cuban humor right now lacks a little oxygen, fresh blood. It is time for a new generation of cultists of the genre to appear on the scene. It needs more preparation and rigor.
And how do you see the theater in general?
The theater has well-defined areas of aesthetics and trends. Perhaps — like humor — it needs new voices.
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