In this episode of the Audio Signals Podcast, Marco Ciappelli delves into "Old Fox's Justice," a compelling Off-Broadway legal drama rooted in Paraguay, exploring the universality of justice and the intricate layers of culture, society, and theatrical production.
Guests:
Tahiana Larissa, Playwright
On Twitter | https://twitter.com/tahianalarissa
On Instagram | https://www.instagram.com/tahianalarissaoficial/
On Facebook | https://www.facebook.com/tahianalarissapy
Website | https://tahianalarissa.com/
Marco Augusto Ferreira, Playwright
On Linkedin | https://www.linkedin.com/in/marco-augusto-ferreira-65400413a/?locale=en_US
On Twitter | https://twitter.com/AugustFerre
On Instagram | https://www.instagram.com/marcoaugustoferre/
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Host: Marco Ciappelli, Co-Founder at ITSPmagazine [@ITSPmagazine] and Host of Redefining Society Podcast & Audio Signals Podcast
On ITSPmagazine | https://www.itspmagazine.com/itspmagazine-podcast-radio-hosts/marco-ciappelli
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Episode Introduction
“A DEA agent is found dead in mysterious circumstances in Paraguay. To protect his wife, a retiring prosecutor tries to label it as an overdose. The US sends an FBI agent to uncover the facts, confronting Paraguay’s corrupt justice system against America’s pursuit of truth.”
Hello and welcome back to the Audio Signals Podcast, where we muse on stories and storytellers. I'm Marco Ciappelli, your host, and I'm thrilled to have you here with us today. If you're new to the show, we dive deep into stories, storytelling, and the storytellers who create and share these narratives using a multitude of different media. In this show, I like to analyze not just the narrative but also the societal and sometimes technological layers that often go unnoticed, along with all that goes on behind the scenes of a story—whatever the format might be.
Alright, let's get to it. Today is special—no, it’s extraordinary. Why? Because we're taking a trip through the corridors of justice with a Paraguayan twist. We're going to explore "Old Fox's Justice," a legal drama set to hit the Off-Broadway New York theater scene, but with its soul deeply entrenched in the rich soil of Paraguay. Trust me, you're going to want to hear all about this. It's not just another courtroom drama; it's an exploration of justice, culture, and humanity at an intersection that most people wouldn't even consider.
With me today are Tahiana Larissa and Marco Augusto Ferreira. These two writers, both natives of Paraguay, have gone above and beyond to craft a tale that places two justice systems in a head-on collision and forces us to examine our own perspectives. If you're intrigued by the interplay of societal structures and individual narratives, you cannot afford to miss this conversation.
What's fascinating here is the universality of the story. Justice, as a concept, transcends borders. Yet, it's deeply influenced by the societies and cultures from which it originates. So when you throw the U.S. and Paraguayan systems into a pot and stir, what exactly bubbles to the surface? That's what we're here to explore. We'll also delve into the adventure of bringing a play to life on stage, discussing everything it takes to produce it—from actors to directors, costumes, and all the details and immense amount of work that goes behind it.
So sit tight, grab your beverage of choice, or just your favorite chair, and gear up for a session that promises to be enlightening, entertaining, and certainly inspiring.
Be sure to subscribe to the Audio Signals Podcast and share it with your friends and family so that we can all sit around a digital campfire and enjoy some good stories!
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Resources
Old Fox's Justice (Indiegogo): https://www.indiegogo.com/projects/old-fox-s-justice-a-paraguayan-play-in-ny#/
Old Fox's Justice Producing Company: https://www.instagram.com/cabalateatropy/
Old Fox's Justice at the New York Theater Festival: https://newyorktheaterfestival.com/old-foxs-justice/
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Please note that this transcript was created using AI technology and may contain inaccuracies or deviations from the original audio file. The transcript is provided for informational purposes only and should not be relied upon as a substitute for the original recording, as errors may exist. At this time, we provide it “as it is,” and we hope it can be helpful for our audience.
[00:00:00] Marco Ciappelli: Hello, everybody. This is Marco Ciappelli on Audio Signals Podcast, where very recently I repositioned the antennas, trying to , capture new sound and new stories. And today I'm excited because I capture a story that come from quite far away. From, uh, where we are right now and, uh, it's interesting cause it's a, it's an, it's a play that is going to take place in New York, but it's actually, if I understand it happens in Paraguay and the authors of this happen to be from Paraguay as well.
One of them is here in the United States. The other is actually connecting with us from Asuncion in Paraguay. And for those that are watching, you can see I'm not alone. For those listening, I swear they're here and I'm going to have you, hear the voices. We're going to start with Tahiana and then Marco is there.
And so we're going to do a little round of introduction. Tahiana, tell us about you.
[00:01:07] Tahiana Larissa: Well, um, before I, I say anything, I would like to say thank you for having us here. It's a pleasure to share with you about what we do and what we love, and we're very excited about this play. Well, my name is Tahiana Larissa, and I, I like to write stories.
I have a novel, a few short stories, and I always like to read and write. And I've been putting on more time of doing what I love since I moved here and my kids got older and after my first novel, uh, it was published in Paraguay and it was about our history. I got to meet other authors and writers and that's how I met Marco Augusto.
And we've been in touch, we work together in other short story collection books and we were in the same path. I mean, we like to tell stories, um, we like to read as well. And that's how one day he proposed to me. He said, Hey, you want to write a play? I, I, I have no experience whatsoever. So I told him, he's like, sure, you got it.
So he guided me through this, and then I think we took over a year to write, um, Old Fox Justice, which is a play that we're very proud of to present, and it was selected to be produced and be on the stage, and we have a performance, our first performance in November, and we're As I said before, we're excited, we're proud, and we want to share with everyone more about this story, which is, uh, it happens half in the United States and then the other half in Asuncion, and he will tell you more about it.
[00:02:43] Marco Ciappelli: Okay, no, we, we will definitely talk about that because that's exactly the story we want, to hear. But before, a little bit about Marco, and on So, honestly, with all the podcasts I've done, this is the first time I have another Marco. So I try not to get confused with myself, but no, honestly, let's tell us a little bit about yourself.
[00:03:03] Marco Augusto Ferreira: Well, hi Marco. How are you? It's a pleasure to be here and you can call me Augusto, you know, when my friends call me Augusto, Tahiana still calls me Marco. I don't know why we've been working about three, four years. I mean, we've known each other for four years, I guess. Correct me if I'm wrong, Tai. And she still, she still calls me Marco, but yeah, I'm Augusto Ferreira.
I'm a writer based in Asunción, Paraguay. I'm a novelist, short story writer. I'm a playwright. I'm also a script writer and I'm developmental editor. You know, that one which appears in the movies that. Calls the middle of the night and asks him, and asks him Why the hell did he wrote that in that part? And well, that's that that's what I do and I love it I love to judge.
I love to criticize and correct other authors to help them achieve their goals as you, as you said and More than talk about me , I would like to talk about how, how we got to write a play when we just met, when we didn't even meet in person. I don't know, we haven't met in person yet with Tahiana.
Have you come here to Asuncion, Tahiana, in the last years?
[00:04:28] Tahiana Larissa: Um, no, I didn't. And after the pandemic, I just, I have plans, but I never did.
[00:04:36] Marco Augusto Ferreira: So well, we're friends. Virtual, we, we didn't even meet, uh, we didn't even meet. And yet we wrote a play and the play that somehow got selected for the New York Theater Festival and for a Latin author, even more than that, for wine author to receive such an honor.
I mean, we guess the, the judges or read the play and they, they told us so. Read the play, liked it, and said, well, you got selected, and it was just in May of this year, I guess, right? April, May of this year. We couldn't believe it.
[00:05:16] Tahiana Larissa: Yeah, April or May.
[00:05:19] Marco Augusto Ferreira: And somehow we just had one week to make the decision of producing it or not, to risk it everything.
And because we had no experience, we know not, we knew nothing about the scene in the New York scene, the, the American scene for plays. We just knew we wanted to get to Broadway, but of course, who doesn't? And for a Paraguayan group. of artists to, to aspire to that. I mean, I think it's a big thing and this is a step, a big step, of course.
And we were afraid we were terrified. Actually, we are still terrified for everything that that implies, but as a team, at least a team that started with Tahiana and I, I'm. Quite confident about what we're going to present to the New York scene. And of course we want to take that play to, uh, an American tour and then to
[00:06:29] Marco Ciappelli: I hope that's happen. That's obviously something that we all hope, hope, but I wanna start with before. We get to talk about , the plot of the play, the story, and why you decide to write this. I'm curious because when people think about writers, they think like, okay, you know, if you can write, you can write.
You can write anything. You can write fiction. You can write, uh, biographies. You can write an article as a journalist. But the truth is that, and you can confirm or deny this, is that there is a big difference in the way you approach. a story Depending on what is the media that you're going to to display it to show it to the public One thing is if you read it one thing if you have to represent and I happen to have read script in my life And you really need to use your imagination.
You're already watching the movie or you're already watching the stage. Is that hard? I mean, this is the first time, at least for you, Tahiana, that you write a playwright. Is it that different than writing a book? It is. Easier? Harder? What is it? Tell me.
[00:07:40] Tahiana Larissa: Um, I would say it will be a little bit In the sense that when you write a book, you want to tell, you want to show.
And when you write a play, you need to put your attention and make sure that the audience will get the dialogue. And I don't really... Personally, I don't think I'm the best at dialogues. It's hard for me. I have to rewrite, erase, and then every time I read, I need to correct them again. And this is pretty much a lot of dialogue and a little description.
In the book, you can do more descriptions and a little dialogue to support what you're telling, to support your story, but that's, that's the main difference. And so with a play, you need to really put attention and make sure you have a dialogue going on that. You can convey information and and it makes part of the story at the same time.
It's, it's different. It's cool. And thank God, Augusto has some experience, um, writing plays, directing play. And as I say, he's an editor too. So he, he really got me. He said, I got you. And he got me, I think, somehow.
[00:08:47] Marco Ciappelli: Very good. And your background in terms of writing, I'm understanding you both wrote historical novels.
So, and that's a genre on his own right there.
[00:08:59] Tahiana Larissa: So yes, we connected to that.
[00:09:02] Marco Ciappelli: Yeah, that's really cool.
[00:09:04] Marco Augusto Ferreira: I mean, one would think there is a big difference on telling historical fiction and contemporary fiction, but whatever you're writing implies a lot of investigation, a lot of background research. World building.
I mean, both of our, both our novels, um, Sin Tumbas, which is Tahiana's first novel, and Del Paso de los Cuatrocientos, which is my first novel, are set in, in the Paraguay of 19th century, uh, during the War of the Triple Alliance. By the way, you should all investigate that war. It's amazing, it's full of intrigue, drama, betrayal, full destruction.
It's amazing. Romance. It has everything. That period of history of Paraguay, of Latin America, of the world is amazing. Frequently overlooked, but it's incredible. It's full of amazing stories, by the way. So when for investigating to produce a work like that in a novel form, you have to investigate every little detail.
You have to talk to historians. You have to fact check, proof check, proofread because a little mistake can get you absolutely canceled by historians. And when a historian says this work absolutely destroys history in everyone immediately goes against your book and forget because people likes to forget that historical fiction is actually more fiction than history.
We take everything from fiction as it happened in real life. Very few people go to Wikipedia or a book afterwards and look at the story and say, Oh, well, which character was real, who wasn't, and what actually happened. No, we take it as fact. And therefore we forget the purpose of fiction. Well, contemporary fiction isn't actually that different from it.
Because... To tell the story of a d of DA agents of para justice system of the F B I of, of drug addiction, uh, of P T S D, which affects our, some of our characters of violence, uh, intra familiar violence. I don't know if you had, uh, have determined the states. Even when we were researching, we had the help of a veteran police officer.
He was a police officer, Tai, or was an FBI agent?
[00:11:55] Tahiana Larissa: He was a police officer, but that's his career. He did it from 18 years old until he retired. He was around 60 when he retired, so all he did was that.
[00:12:05] Marco Augusto Ferreira: Well, he's a detective right now, a private detective. He helped us in portraying correctly the character of... Of Reginal Cooper, which is one of our main protagonists. And when he was reading this script, there was a specifical word in it, which is femicide, uh, in, in Spanish is feminicidio, which is the killing of a woman. By her husband, by a figure of power in her, in her own, in her context, in her social context, in her family, etc.
So when he read that word, he said, what is femicide? That doesn't exist. It's homicide. So well, for Americans, that doesn't exist, but for the Latin American context, it is actually a common thing. So it's that common. So common, that, uh, modifi that, uh, that even implied a modification to the penal system, to the, to the law, you know, to include it, to give you a higher sentence.
So, yeah, every little detail, especially... When you're talking about the country culture, some of its call is idiosyncrasy. I don't know if it's the same in Spanish and English. Things like that can actually affect the perception people has. on an entire culture. So yeah, historical fiction or contemporary fiction are to be treated with the same respect, with the same caution.
And that took us almost two years of writing and rewriting. Tahiana said to correct some things. Well, that's an understatement because Old Fox's Justice took until this point, where it's almost ready to be premiered at the theater, took us 18 rewrites.
[00:14:10] Marco Ciappelli: Wow. You know, I'm going to jump in because as an Italian that lives in the United States and passionate about stories in general, um, Just finish the biography of Disney, Walt Disney, just, just to tell about somebody to tell story all over the world and how you need to adopt dialogue, even the songs when you, when you do that , and you prepare for one country, a culture and another.
I mean, I understand femminicidio is in Italian as well, but I also understand that sometimes I go to translate something and I don't have the Italian words. Sometimes that I am, it's the thing I think in English and probably Tahiana, you'd do the same living here in the United States. And , I feel like it's very complicated because you need to have the target in mind, your audience in mind when you write.
And one thing is to say, I write for a Paraguayan South American public or an Italian or, you know, even English and American, it's, it's quite a different culture, even if you share the same language. So I feel like it makes things very complicated, but the question is, who did you have in mind as the audience?
I mean, were you already thinking, well, this is going to go to Broadway, so we need to Kind of adapted for an American audience or where you're like, um, no, this is a Paraguayan story And this is how it needs to be. So I'm does it make sense to you on my question?
[00:15:44] Tahiana Larissa: It does make sense, but I think from the very beginning, we knew we wanted to tell a story that it can connect, um, our culture, let's say, for American and then the Paraguay culture, too.
And as long as we have characters from here and there, and we can, you know, intertwine and come up with a story. And that's how it all started, and it was just fun. He would write something, and then I would write something, then we'd talk about it, he would write something. It was a really fun project to do, but then we actually start, uh, sharing with other people that we know, so they will tell us what can be fixed, and there shouldn't be this or that, and then we start every time we, we will rewrite, we, we want it more, we want it to be...
Um, you wanted to present at some place, and we actually tried before, uh, this festival in another place. I don't remember very well, but we submitted a play to, to another, um, I don't know, there were contests, or I don't remember, but we were called from this festival, and then, before that, let's go back a little bit, when we were, you were talking about who was the audience, we knew it would be for, for, American audience and Paraguayan audience.
So from there,
[00:17:01] Marco Ciappelli: and that's part of the story too, right? So give us a little snippet, a little trailer of what the story is.
[00:17:08] Tahiana Larissa: A little trailer. Well, Augusto is really good at trailer.
[00:17:11] Marco Ciappelli: Okay. Then Marco, Augusto, you tell us.
[00:17:14] Marco Augusto Ferreira: A DEA special agent is found dead under mysterious circumstances in a Paraguayan hotel to protect the victim's wife, a Paraguayan prosecutor about to retire, a veteran.
We'll try to file the case as an overdose, but in doing so, the United States government sends a ruthless FBI agent called Reginald Cooper, Rex Cooper, who will search for the truth. Setting that assumption, the play exposes the corruption of the Paraguayan justice system, which contrasts the American mentality of doing justice at all costs through intelligent, intelligent dialogue.
Impossible conflicts and complex characters. This work, which was inspired by, uh, by what we knew about A Few Good Men, and Lincoln Lawyer, presents the philosophical and legal dilemmas of a moral ambiguous case affected by the intrigues and dramas. of a corrupt justice system at all levels. The question was, what will happen when an apparently honest detective decides to take on this system to bring justice?
But we also wanted to know the perspective of the Paraguayan side, you know, because this is a story of two iron wheels who will pursue justice by their own means regarding their own philosophies. The truth of the FBI and the truth of the Paraguayan prosecutor. Each one believes in justice and will strain the system to its limit to prove their point.
The question is who will win? In the midst of it, there's a widow, there's a pupil, an aspirant, a prosecutor. There is the lives of the families of the people who will be, will get affected by this play that will affect the government, the Paraguayan state government, the embassies. It affects every system from the, from just civilians to Ministers of Justice, it actually affects everyone and it's inspired by real events.
Of course, we get real events, real people we somehow got to know or cases we got to investigate and we try to tell the story the closest to down to earth as possible. So I'm impressed. That's all folks.
[00:19:50] Marco Ciappelli: You even changed your tone of voice to start acting the trailer as well. I know Tahiana was right. I almost want to put like a little music, you know, like when you watch the Teaser on TV now that that sounds fantastic How does the the community behind you you Kinda already start talking about this?
It's not just and I say just in air quotes for those listening, uh, writing a book where, you know, you put your thoughts on paper or on computer, and then you let people imagination do the job, which is not an easy task, but even harder is when then you have to take actor. Do stage, do, uh, costumes, do organize this entire thing.
Um, so, tell it, both of you, that experience. I feel like I wouldn't even know where to start, to be honest. Is it stressful? Is it exciting? Is it learning a new, a new, uh, I don't know, a new job, a new profession? What's going on there?
[00:20:58] Tahiana Larissa: A little bit of everything we were talking about yesterday because we got to, uh, it was yesterday we have a video call with one of the actors.
And at the end we say we are learning so much because The thing is, when you're part of the New York Theatre Festival, you need to come up with a production. They'll help you sell on the tickets, they hold the dates for you, they give you the performance place, but you need to come up with all the production.
Like you said, actors, custom design, directors, assistants, producers, and everything in between. That's why we started our Indiegogo campaign. A few weeks ago, and we got some help, but we need more help so we can make it. But it's, um, it could be a stressful sometimes, but we take it as a learning experience.
We said, oh, we appreciate we have the chance to, to learn how to produce a play here. It's not every day that it happens. It's the very beginning. We were cool with it. We knew, we knew it's going to be stressful. But we were okay. We said we're going to work hard and I was telling him to, um, how proud we are of our team because everyone, director, actors, assistant, Caro, your wife, like everyone put their heart on it and they believe in us.
It's not just two crazy people from Paraguay. They're trying to come up with this. It's a lot of people who is backing us up, backing this dream. And that's what keeps us going. It's stressful and everything, but we, we have, we're focused. Like, we, we want to do a, um, represent a good play that To make everyone feel proud of us and our team as well,
[00:22:41] Marco Ciappelli: right,
because you're representing your country, right, Marco? You're getting a good support from from the community there as well. I mean, is there is somehow like the government involved with to have like culture department that are helping? What's the story there?
[00:22:58] Marco Augusto Ferreira: Well, we are trying to get something as it is right now.
Yeah. Okay. Come on, guys. All the investment, for example, comes from us, from Tahiana and I, we are executive producers in that regard. And when were you talking about, thinking about, for example, the costume design, the little details, one thing that as an author, he has to, one has to finish the script and then, well.
It's done. You know, your work is done. That's it. Now, somehow in the modern world, an artist has to be integral. Has to be able to do everything, to think about everything. And thank God... The, the team Tahiana talked about actually is such, is so professional. So it has so much faith in their art history, in their craft that they have the, the ideas, they develop them, they take it to a level that actually the author, we, we can relax and well, I mean we can relax actually, but we can dedicate ourselves.
To, for example, gather funds, to gather help, support for the community, from the community. And there, the director has his own vision. He's incredible. He, we talked a lot. We shared a lot of information. He asks us. What we think about this and that. We, we took part in the casting process. We had, we gave our opinions.
It's amazing. For one, is the director, for one side is the director, Ronald Buñablo, who's already working there with the actors. He's, he's has essays right now with our producers, Rita Ortiz. They're both Paraguayan. From Madrid, España, Spain. He's working, Fati Fernandez Mercado. She's a director. She's an actress also.
She's working at CIRIS right now and she's managing our communication. Here in Asuncion, I'm trying to gather funds, support, sponsorship, help from the, from the state, from the consulate, Paraguayan consulate in New York. Tahiana there is working also to get sponsorship, to get help, to manage the agendas. We had talked to the Actors Equity Association.
We were in process as one of our actors belongs to the SAG AFTRA. So we're actually in conversations with them. We had to fill in a lot of paperwork, but now we can probably say we are, uh, how do they say, compliant producers of the ANA. A E A. The Actors Equity Association. So now we somehow went to write poem from writers.
hoping to get a play producer, two executive producers and producers in New York recognized by the, by the Guild, which is something we were never, never expected to happen. And I don't know what that actually implies, uh, for the future, but it sounds good.
[00:26:16] Marco Ciappelli: That's great, . It sure does. And it, it opens door.
And, you know, there's one thing I always bring up, uh, about the, the overnight success is the most underrated and, and overrated phrase that you can hear. Like, you know, like a, an athlete or, or a singer or an actor's like, oh, it just, Just became who became overnight. And like, do you know how much they work to get where they are?
Training, practicing, you know, learning all of that. So every step it's, it's important. And I think that you guys are doing something that for, for many people will need again, a lot of support. And I hope you. You do get it. So when, when we finished is in a few minutes, we're going to have a clear call to action for the Indiegogo campaign that they, that people can help doing this, but also to learn.
And because there, there are honestly, Many, many valuable, um, artists, writers, uh, and in many form of art. That's why I use the word art, artist in many part of the world. And yeah, we will look at America and as the big stage, but you can also do something small somewhere and then hopefully somebody notice it, especially now with social media.
Yeah, so I hope the words goes around Um, I do have a question though when you Write and then you say you mean with The actor, you, you have to adjust. You write it 18 times. You rewrite it, this thing. So that's a long, it's a headache in my head. Uh, do you feel like you're changing the nature of what you wrote?
Like it is upsetting to change. Cause I know that I don't even like to change a comma to what I write. No, but, but so how much is an, you see it as an improvement or how much you see it as a Okay. I, I have to do it for, for the media. It's a different medium. I need to do that.
[00:28:34] Tahiana Larissa: I would say there are times that you need to make sacrifices, but you need to, um, think about how it's gonna end.
How is it going to affect the, it's not easy just to erase something and rewrite. Everything else will change. There are some times that you, I don't mind erasing as long as, um, I'm satisfied with the end. And I know I have to cut an arm and a leg sometimes. It hurts, but I know you will have a story. If it gets a story going and there's an end that at the end I'm satisfied with, I'm okay with it.
I'm willing to do sacrifices and we did it. We did it with Augusto, we did it a few times, even when... When we, when the director came in too, he suggested a few things and we're still adjusting and, and now I think every time after 18 times we feel a little bit more comfortable with the changes because we know what we want, we have the vision and we know it's going to be for the good of the play.
So I know it hurts, but you'll get over it. Right.
[00:29:43] Marco Augusto Ferreira: You said when you Yeah, that's absolute. Absolutely right, but when you get the distance of time in the midst of the writing process, you actually start feeling less. Um, you start to separate the idea that your play, your work is a baby that you have to somehow nurture and let it grow.
No. It's, uh, imagine it as a sculpture with rough edges and lots of obtuse angles that you have to, to lime, I don't know, to limata, we say in Spanish. Polish. To polish, yeah, thank you. To polish until... It stays something, somehow attractive, a beautiful piece, you know, and through that year and a half, two years of writing and rewriting, there was one question we asked a lot, back and forth between us, and it was, do you remember what was the original intention behind this?
Why we started this? Are you satisfied? Do you think we are still going the same direction? If we felt that the answer was no, Then we will redirect it, and that was the path. Of course, as the first time we were working together, and I hope it's not the last time, we, we even got into fights, you know? I mean, arguments, not, not the sort of like, I don't want to know, I don't want to, I mean, get out of my life, or something like that, not on that level.
But, I am sad, you know? Um. I feel sad. Why? Because that wasn't what I wanted for that character. And that was the worst part. Those, those were the worst moments. I don't know what would you have, what do you have to say about it?
[00:31:51] Tahiana Larissa: Not really. I think with the time, it became clear what we wanted for each character.
It got easier. In the beginning, like he said, when we were just building the story, we were like, no, he shouldn't have family. No, he shouldn't do this. And there was a part that I remember very clearly that I was not okay with the ending of the scene, but then he has to be patient. He was very patient and we talk and talk and talk.
And at the end, I realized That was the best ending for that scene. It has to be that way in order to continue to keep the story going and to make sense and connect with everyone else at the end. Because if I did that, everything is going to be, I want a, a total different ending to that scene. But then when we talk and we talk and then I sat with the idea a few days, it was the best thing we can do it.
Because as people, more people came in as the actor, producer, director, assistant, everyone. Everyone is okay with that part now. I mean, people won't even know, won't even notice, but I remember. But it's good. It's for the good of the story. It works perfectly.
[00:33:02] Marco Ciappelli: Yeah. It's a good point. When you, when you do something, you want to be perfect and it's never done.
I mean, for a true artist, even painters, they would just destroy their painting because they were not happy. But you're a different person every day, and maybe you will change something every day. Maybe something happened in your life that makes you want to portray that character a little bit different from what it was, but you need to have somebody that says, you know what, this is good enough, and there is a lot of different way of...
Do the right things. And I think you guys. Yeah, you being humble about the whole process is a learning one. I think is very important. Um, I would like to finish this as we are the 34th minutes of this conversation with a quick message from both of you to invite people not only to come to And see the play which is at the New York Theatre Festival in November, which is coming up.
So, you know You know make it happen and but you also need help with the with the campaign so if this can somehow go around, um, they will be fantastic because I think it Everybody deserves a chance and you guys are working super hard for this and i'm sure uh people would enjoy it so take your time a few minutes each and Make it count.
[00:34:32] Tahiana Larissa: Um, yes, invite everyone to come and see us. You can support us even by going to Indiegogo and All Fox Justice is the name of our campaign. We have, um, donations. I mean, you can donate from 1 up to whatever amount you think you feel comfortable. We have a video, we have more explanation, information about the play or the character who was involved and we have the poster. We have a few very interesting, interesting, uh perks. And as I said, you can even go to our campaign and Indiegogo, or you can come and see us.
We are very excited to meet you and see you and if you saw the tell us and hopefully we get to see everyone. We have, uh, I'll give you the dates are November, Monday 13th, uh, Friday 17th and Sunday 19th. We have, uh, three performances, but the premiere is on Monday and we hope to see everyone there. We're very proud to, to bring something that I think is going to be very entertaining and you're going to come out of it like Question yourself a lot of questions,
[00:35:39] Marco Ciappelli: which is a good thing.
[00:35:42] Marco Augusto Ferreira: Yeah, you can learn more about the play at the page in the page of the New York Theater Festival. You can learn more at our social networks. You can look at us. Look us up on Instagram at Cabala Teatro, Cavala Teatro at Marco Augusto Ferrer, which is...
[00:36:04] Marco Ciappelli: I'll have all this link in the notes. So for everybody listening, just look down, there'll be notes and links to both Tahiana and Marco to get connected with them and to, of course, all the URL that you...
Okay, so don't don't worry if you're missing a dot or a period or anything
[00:36:23] Marco Augusto Ferreira: Okay. Thank you. Okay, you can like look it up at the comment. So we expect you we expect to see you there And I hope we hope you like the play We hope that you share and incursion
On an off off Broadway show, then we expect to go off road with the same team, which is an amazing team, full of professional artists capable of, I mean, the production here you will, you can expect to see, uh, in all folks justice is Broadway level, Hollywood level. You just have to see what Kairos Seppi now in custom design planned.
All the, all the costume changes. I mean, it's amazing. Ronald Bonoblook is the director. He's also a composer, a lighting technician. He has some ideas which are truly amazing, incredible. You really, I mean, you will be surprised. I was telling you before, yeah, and the cast. We have, we have Tessie Herastie as a protagonist.
Charles E. Williams. We have Mauricio Castillo, Michelle Serge, and who am I forgetting? And Rebecca Ellis, this, that's our cast. They are amazing, amazing actors, all from New York. It's an amazing cast, and we expect to go from there. I was telling you Marco offered way well. And we also want to make an American tour.
I don't know how, but we somehow managed to do it. And then we get to, we'll go to Hollywood with the story. But still, as we were talking before, we were, as we were saying before, the medium is amazing. We weren't saying explicitly, but we wrote this story for theater. And I'm telling you, it's an experience.
It's not just a story you live. an experience, an adventure, and we hope you, you actually get to cry tears of joy, to experience the thrills. It's a noir thriller. Old Fox's Justice is a noir thriller. Wrote for theater in a way you have never experienced before.
[00:38:40] Marco Ciappelli: Wow, I want to see it. All right, so good job.
Good job. Fantastic job in describing this. I think it was a great story. We look into the backstage and the background of you two and I think we understand that. There is a lot of you and a lot of the things that you have done in the past before this that came and it's a constant growth and I really I'm a big fan of of new things of indie production when it comes to every kind of art because we need to give a you know at least to give a an opportunity and uh you know if then you have some critique then you can have it but don't judge it before you actually Watch it because everybody deserves, uh, please.
And, and, uh, again, I'm excited. All folks, Justice, Tahiana and Marco Augusto, thank you for coming on the show and for everybody, uh, notes, connect with them, do what you can and stay tuned, subscribe to Audio Signal Podcast. And, uh, we'll be back with more story and storytellers and, uh, and how to make it happen.
I don't know, but they do. Thank you very much.
[00:39:55] Tahiana Larissa: Thank you for having us.
[00:39:56] Marco Augusto Ferreira: Thank you, Marco.
[00:39:57] Marco Ciappelli: Of course, an honor.