Source: Arabia.net – Muhammad Ahmad
“Al-Arabiya.net” met with director Majdi Al-Hawari and talked about the Cairo Show theater project, how the idea came, and who supported it at the beginning and behind the scenes of working with stars Yahya Al-Fakharani, Mohamed Heneidy and Ahmed Ezz.
How did the Cairo Show project start and who suggested the idea of reviving theater?
Everyone knows that I and a great generation of filmmakers have made a breakthrough in cinema since the late nineties with films in which the biggest stars on the scene have participated, such as Mohamed Henedy, Karim Abdel Aziz, Ahmed El Sakka, Alaa Wali El Din and Ahmed Helmy, and these films have made an extraordinary leap in the history of cinema and constituted a real shift. And at this time, the situation varied greatly against the theater, as modern technologies entered the cinema and attracted the audience, and the theater did not. Therefore, I felt that the theater was collapsing, so I had a feeling about ten years ago to go back to the theater, and more precisely I was attacked by the dream of developing Egyptian theater in a way that befits the long history of Egypt. The Cairo Show Theater project, which is based on providing valuable content and high-level implementation and dazzling, as well as attracting the biggest stars of cinema, theater and art in Egypt and the Arab world.
What new did you think of introducing when returning the old theater?
The Egyptian theater in the forties and fifties was comparable to world theaters and not less than them and was presenting all kinds of big plays from politics to the comic show to the romantic, and that is why my partners at Cairo Show decided to return the old quality content, and increase the public’s confidence in what he will see in terms of subject, production, clothes and decor to be the theater An elegant space for every Egyptian family.
What is the story that you decided to return the classification to the stage, and what are the details of this classification?
The point is that we re-classify the types presented on the stage from topics because the idea that the play is tragic, comedic, musical and musical performance is totally unprofessional, so we have returned the drama like King Lear, in which there is no laughter or comedy, and we have returned the pure comedic play like 3 days in the coast, and the play is currently being presented. Lyrical Aladdin by Ahmed Ezz
With this, we presented a strategy that carries all the attractions and successes of a star to dazzle content with the aim of reviving the theater again and re-pioneering, and not the goal of financial profit. That is why we called the theater “Cairo Show” to bear the name of Egypt and Shaw, which will be re-presented in the best way.
Have you thought about the theatrical experience to correct the mistakes of the Egyptian theater, which was accused of being a comic theater and sketches only?
On the contrary, I am not seeking to fix any experiences for others. I just dreamed of a project and implemented it and an experience like the Theater of Egypt. I greatly respect it and its leader, the artist Ashraf Abdel-Baqi, because he brought the audience back to the comic theater, but we differ from them that we are not only a comedy theater, but rather, it is varied, and each play has a special classification.
How did the first cooperation with the star Mohamed Henedy come about in the play 3 Days in the Coast?
My relationship with Henedi is very strong and I think that he has opened goodness to cinema since the nineties with his films, which have achieved great success, so we decided in the Cairo Show to introduce Henedy to be the beginning of the start of the theater again, just as it was the beginning of the start of the cinema and he was absent from the theater since the play Tariea, which was shown 16 years ago, and Henedy’s enthusiasm To make a comeback, the 3 Days Show in the Coast was so successful that it is the biggest daily revenue in theater history.
What about Yahya Al-Fakharani and King Lear?
I am a fan of the great artist Yahya Al-Fakharani and King Lear specifically for the international writer William Shakespeare, and one of my dreams was to collaborate with the star, acting professor Yahya Al-Fakharani, especially as he presented the same play on the national stage for many years, so I offered to re-present it in a newer way and with special possibilities from the elements of decoration and music And theater and dazzling in addition to a stronger vision on the Cairo Show, and Al-Fakharani was enthusiastic to develop very much and believed in the experience until the play, with its dazzling new capabilities, achieved a great success.
And how did the cooperation with the star Ahmed Ezz come in the play Aladdin?
I am a believer in Ahmed Ezz’s various talents and I was sure that he would dazzle everyone in the theater, so I showed him the play and he apologized at the beginning because the theater project is very difficult, but I asked him to watch the play in London and say his opinion and he watched it and liked it and said that he is ready to present it if we will present it with these capabilities and indeed we brought Great possibilities of heliogram and modern technologies, and the play came out with the same strength as the play that was shown in London, and Ezz succeeded overwhelmingly because he is an artist who possesses the elements of theater, including talents and presence, and he was helped by the presence of the capabilities, decoration and dazzling in the correct manner.