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    In ‘La Máquina,’ Gael García Bernal and Diego Luna Get a Rematch

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    Sitting cross-legged on the floor at the Château Marmont in Los Angeles, Gael García Bernal stared with admiration at his lifelong friend and fellow actor Diego Luna. Just the night before, they had walked onstage at the Peacock Theater and, as expected, presented the Emmy for best director of a limited or anthology series or TV movie.Less expected, in a move they said wasn’t preapproved, they had given the award in Spanish.“We were just told that the Emmys are losing a big chunk of its audience,” García Bernal told the crowd and the nearly 7 million live TV viewers. “So me and Diego decided to do something to push the limits, to erase the boundaries.”Luna saluted the United States’ more than 50 million Spanish speakers. Then the award went to Steven Zaillian of “Ripley” — for “mejor dirección” in a limited series.Whatever its provocative qualities — in our interview, García Bernal cited Donald Trump’s divisive immigration rhetoric as motivation — the speech was also a canny bit of promotion. As much of the ensuing coverage noted, the two actors have their own limited series coming on Oct. 9, “La Máquina,” Hulu’s first original Spanish-language production.In “La Máquina,” Luna, left, plays the spray-tanned, plastic-surgery obsessed manager of a boxer played by García Bernal (with Eiza González as the boxer’s ex-wife).Cristian Salvatierra/HuluFriends since they were children in Mexico City, García Bernal, 45, and Luna, 44, are indelibly linked, not least because of their breakout roles in Alfonso Cuarón’s breakout film, “Y Tu Mamá También” (2002), in which they played best pals from different social classes on a life-changing road trip.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Angélica Garcia Adds Her First Language, Spanish, For Her Album Gemelo

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      “Gemelo” is a largely electronic exploration of all kinds of dualities: “With any music I make from now on, I’m going to be writing in both languages.”“My blood speaks Spanish to me,” Angélica Garcia sang in “Red Moon Rising,” a track on her 2016 debut album, “Medicine for Birds.” Garcia, who was born in California, was living in Virginia; the album leaned toward indie-rock and Americana. But the lyric turned out to be prophetic.She was already thinking about the legacy of her maternal grandparents, who are from Mexico and El Salvador, and the musical heritage her parents maintained. Garcia’s second album, “Cha Cha Palace,” delved further into what it meant to be a Chicana growing up bicultural in the San Gabriel Valley — a quintessentially American experience, yet a very individual one. “Been wearing my roots and flying this flag,” she sang in “Jícama,” which former President Barack Obama listed among his favorite songs of 2019.“One day I showed my grandmother ‘Cha Cha Palace,’” Garcia, 30, said in a video interview from the kitchen of her apartment in Los Angeles. “And I realized I’d made this whole record about growing up in El Monte, and she didn’t even understand it. It just hit me that I’m missing a whole side of my culture and people because of the language I’m choosing to write in.”Garcia’s new album, “Gemelo” (“Twin”), out Friday, expands on both her bloodlines and her ambitions, and features lyrics in Spanish. True to its title, its songs are full of dualities: angels and demons, grief and healing, dreams and realities, mirror images. The album opens with a somber chorale titled “Reflexiones” (“Reflections”), while in “Gemini,” Garcia sings, “I see double everywhere I go.”The music is largely electronic, unleashing the directness of Garcia’s voice — sometimes ghostly and airborne, sometimes a near-scream — amid programming, loops and layering. There are moments that hint at Kate Bush, Bjork, M.I.A. and Santigold.Garcia grew up speaking Spanish at home with her grandparents, but said she lost it “once I got into the public school system.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Television

      How Sofía Vergara Created Her Tony Soprano Role

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      When Sofía Vergara invited the “Narcos” showrunner Eric Newman to her home in Los Angeles in 2015 to pitch a TV show about the Colombian drug lord Griselda Blanco, she’d done her research.“I watched the ‘Cocaine Cowboys’ documentary in 2006, and I was like, ‘Wow, this character has so many layers,’” Vergara, 51, said of Blanco, the kingpin who was suspected of being involved in more than 200 murders before being shot dead in her hometown, Medellín, in 2012 at age 69.The facts of Blanco’s life — the murders, the kidnappings, the tense backroom meetings with drug bosses — hardly needed embellishment for TV. But what had so hooked Vergara, she said, was the idea that “this innocuous-looking woman was raising four kids while building this insane, brutal empire.”She knew it would be a tougher sell to persuade people that after a little over half a decade portraying the feisty, fun-loving mother Gloria Delgado-Pritchett on the ABC sitcom “Modern Family,” Vergara was the right person to play the cutthroat Blanco.“I was like, ‘What are the odds that this guy is going to think that Gloria Pritchett can play this [expletive] ruthless, crazy character?’” Vergara, who is Colombian, said in a recent phone conversation from London.But her passion for the material, her biographical overlap with Blanco and her confidence convinced Newman — and soon the Colombian director Andrés Baiz, who worked with Newman on Netflix’s Medellín cartel series “Narcos” — that she could pull it off.Both, Baiz said, were driven, ambitious women who had immigrated to the U.S. from Colombia and ascended to the top of their industries. Both had grown up in a misogynist culture. Both, Baiz said, shared “an unstoppable, fierce quality.”“She knew so much about this woman,” Baiz said from Bogotá in a recent video call, which Newman also joined from Santa Monica, Calif. “And she felt strongly that there was a part of her story that hadn’t been explored onscreen before.”Vergara said she spent three hours in the makeup chair each day, donning a prosthetic nose, fake teeth and padding that compressed her figure.Elizabeth Morris/NetflixGriselda Blanco was suspected of being involved in more than 200 murders before being shot dead in 2012.El Tiempo, via Associated PressOf course, Blanco’s rise and downfall as a boss in the fearsome drug trafficking syndicate founded by Pablo Escobar in 1976 had been dramatized before, most recently in the Lifetime movie “Cocaine Godmother” (2017), which starred Catherine Zeta-Jones, and in “Cocaine Cowboys” (2006). Although HBO announced in 2016 that it was developing a Blanco biopic that would star Jennifer Lopez, the project has yet to come to fruition.Amid a landscape of South American narco tales that had been made mostly by white producers, Vergara had something different in mind. She envisioned a story told half in English and half in Spanish, with a majority-Latino cast, that put female characters front and center. Vergara would executive produce and star, with Baiz directing all six episodes. “Griselda” premieres Thursday on Netflix.“It’s hard for me to find characters because of my accent, and because I’m known for comedy,” Vergara said. “So in a selfish way I was like, ‘Oh, this is perfect for me.’”Rather than tracing Blanco’s life story, as the other projects had done, “Griselda” focuses narrowly in the late 1970s and early ’80s, starting with her arrival in Miami as the newly single mother of three sons. As she builds her empire, she is trailed by June Hawkins (Juliana Aidén Martinez), one of the first female homicide detectives in Miami, who worked to bring Blanco down.Juliana Aidén Martinez as the Miami homicide detective June Hawkins.Elizabeth Morris/Netflix“Her story offered a mirror to Griselda’s story,” Newman said of Hawkins. “Both were single mothers of Latin descent who found themselves rare women in similarly male-dominated fields.”Martinez, a Colombian American actress who was born in Miami, said that it was gratifying to be part of a project that centered the stories of its female characters, including Blanco’s friend and confidante Carla, a sex worker who is played by the Colombian pop star Karol G, in her acting debut.“The world understands the story of Griselda Blanco as something that is fiction, but we as Colombians see that story in a different way,” Karol G said in a recent phone conversation from Los Angeles. “In every family there is a story about someone who passed away because of Pablo Escobar or Griselda Blanco.”Much of the Latino cast and creative team personally felt the difficulty of a nuanced depiction of Blanco, who had an outsize role in Colombia’s sprawling drug trade and so had impacted their lives. Vergara said her older brother, Rafael, “was part of this business,” when he was fatally shot in Bogotá in the 1990s, and her younger brother, Julio, battled drug addiction and was arrested nearly 30 times before being deported from the United States to Colombia in 2011.“That era was horrible,” she said. “What it did to generations — their families, their kids — was really heartbreaking.”Baiz, who said he saw numerous friends kidnapped after they were inadvertently caught up in the drug trade when he was growing up in the 1980s and ’90s in Cali, Colombia, called the task of balancing Blanco’s business acumen with the brutality of the drug trade the show’s “dramatic challenge.”For Newman, it was important that “Griselda” resist the temptation to paint Blanco as a one-note villain.“I don’t believe in monsters,” he said. “The danger of thinking that monsters spring forth from the womb is that you miss the ones created by their environments or circumstances.”At the heart of Blanco’s story, Vergara said, was a tale of a mother trying to protect her children, by whatever means possible.“I’m a mother, I’m an immigrant, I’m a woman,” she said. “If something is happening and I have to kill someone for my son, I don’t think I would think about it, I would just do it.”At the heart of “Griselda,” Vergara said, was a tale of a mother trying to protect her children by whatever means possible. Elizabeth Morris/NetflixMore difficult was the physical transformation Vergara underwent to portray Blanco, who stood just five feet tall and, with her cleft chin and cartoonish dimples, was hardly an intimidating physical presence. Vergara said she spent three hours in the makeup chair each day, donning a prosthetic nose, fake teeth, plastic “from my eyelids up to my forehead” to hide her thick eyebrows beneath her period-specific thin ones, as well as pads to flatten her bottom and bras that compressed her breasts.“I didn’t want people to see me and say ‘Why does Gloria Pritchett think that by putting on a fake plastic nose, she’s going to convince us that that’s not her?’” she said.Vergara also developed a swaggering stride for the character, trading her “sexy Caribbean walk” for a hunched masculine slouch she’d copied from one of her cousins.“I thought it was great because it would help me with the character,” she said. “But then after three months, it was 4 in the morning and I was trying to get out of bed to go to the set, and I couldn’t do it — my back gave out.” (It was the only day of the three-month shoot, she noted, that she had to cancel filming).Many times she struggled to shake off her character after shooting wrapped for the day.“Your body doesn’t know that you’re not going through those emotions during the day,” Vergara said, explaining her character’s range of experiences during a day on set. “I was doing coke, I was killing, they were choking me, I was screaming, I was crying, so when you go home, it’s like, ‘What is happening to me?’”In her depiction, Vergara wanted to show Blanco’s resilience as a survivor of domestic abuse with no education and few options, but also how those circumstances might have shaped her violent actions.“You want to think that she’s forced to do all these things because she needs to take care of her people,” Vergara said. “But then little by little you realize, wait a minute, she had options to get away, to stop the madness. And then you understand that it was not a good intention that was making her do all of this that she did at the end.”Baiz said he hopes that, no matter what emotions people feel while watching the series — empowerment, revulsion, horror, all of the above — they will stick with it for all six episodes.“If you end the show in Episode 2, it’s a very different story that you’re telling,” he said. “We ended much later in her life story so we can see her humanity, but also her amoral and corrupt side.”Vergara hopes viewers come away not rooting for Griselda, but maybe understanding her.“I always dreamed of Griselda to be a little bit like Tony Soprano,” she said. “He was a very bad guy, but you wanted him to win; you could justify some of his behaviors.” More

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      in Music

      Marcos Witt, the Pop Star Bringing Latino Evangelicals to the Pews

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      The sanctuary of Northside church in Charlotte, N.C., is built for joyous adoration. Enormous speakers hang from its domed ceiling, along with an elaborate system of colored lights. Its semicircular stage has wide, carpeted steps that lead down on all sides to rows and rows of wine red pews, which hold about 2,700 people. The evening I visited last February, they filled to capacity with Latino families who had come to see the evangelical superstar Marcos Witt.Listen to This ArticleFor more audio journalism and storytelling, More

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      in Music

      Young Rappers in Seville, Spain, Turn “Tears Into Rhymes”

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      La Barzola, a neighborhood in Seville, Spain, is home to a diverse population of working-class families, many of them immigrants, with the pulse of community and creative resistance running through their veins. The heart of the barrio is the Plaza Manuel Garrido, a public park and social nexus. And within this space is a basketball court that a group of aspiring rappers call their own.

      Hip-hop was born 50 years ago from the rubble of urban distress in the Bronx, an act of resistance and self-expression by society’s most vulnerable. Today, the music is everywhere: a multi-billion-dollar ecosystem. But it also remains a deeply personal form of expression, including for the young men in this community.

      “Whatever pain, anger or frustrations we harbor from our everyday experiences, music allows us to excavate those things and make something useful out of it,” Zakaria Mourachid, 21, who makes music under the name Zaca 3K, said. “We take our anger out on the music. We turn our tears into rhymes, because it makes us feel free in a world that creates barriers around us everyday.”

      Just like the originators of hip-hop, the rappers of this collective ground their material in their personal narratives.

      “Overcoming immigration, overcoming having to leave one’s country of origin, overcoming being separated from our families and overcoming the loss of those we meet who may or may not continue the journey with us.” More

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      in Music

      Polito Vega, Salsa ‘King’ of New York Radio, Dies at 84

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      In a career that began in 1960, the Puerto Rico-born Mr. Vega became, one admirer said, “the architect of Hispanic radio at a global level.”Polito Vega, an exuberant announcer with a booming bass voice and a finely attuned ear whose Spanish-language shows popularized salsa music in New York in the mid-1960s, died on March 9 in North Bergen, N.J. He was 84.His death was announced by his family. No cause was given.After abandoning his dreams of becoming a singer, Mr. Vega began his broadcasting career in 1960, shortly after transplanting himself from Puerto Rico to New York. He quickly distinguished himself on air with his signature voice, his perky epigrams like “Andando, andando, andando” (“Keep going”) and his adventurous playlists. He also distinguished himself in person, at concerts and dances, with his ubiquitous Yankees cap, starched white guayabera shirt, white goatee and fuzzy sideburns.The disc jockey and recording artist Alex Sensation described Mr. Vega on Instagram as “the architect of Hispanic radio at a global level.”In an obituary in Billboard magazine, Leila Cobo, the author of “Decoding ‘Despacito’: An Oral History of Latin Music” (2020), wrote: “Vega’s importance to Latin music cannot be overstated. He was the most influential tastemaker in the country’s top market, dating back to when tropical music first became popular in the city in the 1960s and 1970s and stretching all the way to the 21st century.”He was heard on two New York AM stations, first WEVD and then WBNX, and finally on WSKQ (Mega 97.9 FM) — which began broadcasting as a full-time Spanish-language format in 1989 and has often been rated No. 1 in that market. He also became the station’s program director.When Mr. Vega began broadcasting, he recalled, he was struck by the disconnect between the comparatively temperate bolero music that dominated Latin broadcasting and the feverish salsa he was encountering in nightclubs. He was among the first radio personalities to recognize the market for salsa, identifying promising talent and mentoring gifted musicians.“It was two different worlds in those early days,” Mr. Vega said told The New York Times in 2009. “At the dance halls and up in the Catskills you would hear the Tito Puente and Machito orchestras tearing things up, but on the radio the kind of thing you heard was romantic trios, unless you were tuning in to Symphony Sid” — the prominent jazz D.J. who began playing Afro-Cuban music in the 1960s — “late at night.”The trombonist Willie Colón, who became one of salsa’s biggest stars, recalled that the first time he heard Yomo Toro, the maestro of the 10-string guitar known as the cuatro, with whom he would later collaborate on several recordings, “was on Polito’s show, playing along with listeners who would call in and sing over the telephone.”In the late 1960s, Mr. Colón got a break when he was invited to appear on “Club de la Juventud,” an “American Bandstand”-inspired TV show that Mr. Vega hosted on the Telemundo network from 1967 to 1970.Among the other musicians whose careers Mr. Vega helped promote were Celia Cruz, Tito Puente and Ismael Miranda.Mr. Vega in a photo-booth picture taken in 1957, shortly after he arrived in New York.Tim Knox for The New York TimesHipólito Vega Torres was born on Aug. 3, 1938, in Ponce, on the southern coast of Puerto Rico. His father was a bus driver, and the young Hipólito sold newspapers on the beach to supplement his family’s income.He began calling himself Polito as a teenager after winning an amateur singing competition, only to be told by the contest’s master of ceremonies that he would never become a celebrity with a name like Hipólito.In 1957 he moved to New York City, where he lived with an uncle near Van Cortlandt Park in the Bronx and worked as a shipping clerk while trying to get a break in the music business.“I came to New York as a skinny little kid with a wisp of a mustache, hoping to make it as a singer,” he said in 2009.Johnny Pacheco, the Dominican-born flutist, bandleader, songwriter and producer, knew Mr. Vega in those days. “Even before Polito got a job, he was already an announcer,” Mr. Pacheco, who died in 2021, told The Times. “He used to go to a barbershop owned by a compadre of mine, and I remember how he was always joking and kidding around there, imitating announcers and singers and talking as if he were already on the air.”One night in 1960 he was helping a friend who was hosting “Fiesta Time,” a half-hour show on WEVD; as his friend’s sidekick, he read listeners’ names and record requests on the air. The station’s owner heard his voice and hired him as an announcer.“Radio fever got into my head,” Mr. Vega recalled.When WEVD expanded to 24-hour programming not long after that, he was offered the midnight-to-6 a.m. slot.“The show,” he later said, “was so successful and I felt that liberty to express myself that I’ve maintained to this day.”Mr. Pacheco, who co-founded Fania Records in 1964 as New York was supplanting Cuba as a center for emerging Latin music, described Mr. Vega in 2009 as “part of the whole salsa movement, one of its pillars.”“As we were building the company,” he added, “he was there with us. I’d bring him the LPs, he’d listen and say, ‘I like this song, I’m going to push it,’ and he’d play the hell out of it.”Mr. Vega later moved to WBNX, where he became known as “El Rey de la Radio” — the King of Radio — and where he met Raúl Alarcón, the senior program director. Mr. Alarcón went on to become head of the Spanish Broadcasting System, where Mr. Vega was for many years executive vice president in charge of programming.In 2009, Mr. Vega was honored at two all-star 50th-anniversary concerts at Madison Square Garden. Three years later he was celebrated at Citi Field in Queens by a lineup that included Gloria Estefan and Daddy Yankee.Mr. Vega’s wife, Judith, died last year. His survivors include two sons and a daughter. Two other sons died before him.In a statement, his family asked that his fans not mourn but “celebrate his legacy,” adding: “Polito continues to live in the music that he loved and shared, as well as the impact he left in the Latin community. Polito lived happiness, smiles and love. We would like for all his fans to live life to the fullest, as he did.” More

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      in Music

      Karol G’s ‘Mañana Será Bonito’ Is No. 1, Making Chart History

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      The latest release by the Colombian pop star is the first Spanish-language LP by a woman to open at the top of the Billboard 200.In December 2020, Bad Bunny made history on the Billboard charts with the first No. 1 album performed entirely in Spanish (“El Último Tour del Mundo”). Now the Colombian pop star Karol G has set another record with the first Spanish-language LP by a woman to take the top spot.“Mañana Será Bonito” (“Tomorrow Will Be Beautiful”), the fourth studio album by Karol G — the 32-year-old singer born Carolina Giraldo Navarro, instantly recognizable for her bold hair colorings — displaces SZA’s “SOS” on the Billboard 200 after a nearly consecutive 10-week run at the top. “Mañana Será Bonito” opens with the equivalent of 94,000 sales in the United States, including 119 million streams and 10,000 copies sold as a complete package, according to data from the tracking service Luminate.It is the latest sign of the growing commercial power of Latin music. Last year, Bad Bunny, from Puerto Rico, had the most popular album (“Un Verano Sin Ti”) and the biggest global tour. Karol G sold $70 million in tickets to her own tour, which Billboard said made it the highest-grossing tour of the United States by any Latin female artist in history.Karol G’s arrival pushes SZA to second place in her 12th week out, while Gorillaz — the “virtual band” created by the musician Damon Albarn and the visual artist Jamie Hewlett — opens at No. 3 with “Cracker Island,” the group’s eighth studio album. Yeat, a Portland, Ore., rapper at the top of the semi-underground “rage” heap, debuts at No. 4 with “AfterLyfe,” and Taylor Swift’s “Midnights” is in fifth place.Next week’s chart will undoubtedly be dominated by the country star Morgan Wallen, whose latest album, “One Thing at a Time,” came out on Friday. Like his last release, “Dangerous: The Double Album,” it is stuffed with catchy tunes about drinking, breakups and pickup trucks — “One Thing” has 36 tracks, “Dangerous” 30 — and it is already dominating streaming services.The only real questions facing “One Thing” are how big it will open and how long it will last on the chart. “Dangerous,” which came out at the very beginning of 2021, spent 10 consecutive weeks at No. 1 and is now in sixth place, its 109th time in the Top 10. More

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      in Theater

      With ‘Company,’ Antonio Banderas Brings Sondheim to Spain

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      Many Broadway blockbusters make their way to Madrid, but Banderas wants to push the envelope with serious, complex musicals that are little-known in Spain.On a recent Friday night, a fashionable Madrid audience leaped to its feet at the end of a performance of Stephen Sondheim’s “Company.” The crowd cheered the 40 onstage actors and musicians, but the most enthusiastic ovations were reserved for Antonio Banderas, the production’s director and star. For the past nearly three hours, the Spanish actor had crooned, belted and twirled his way through the first Spanish-language production of the groundbreaking 1970 musical.Banderas’s “Company” started life a little more than a year ago in Málaga, the actor’s hometown in southern Spain, where he founded a musical theater company, Teatro del Soho, in 2019. After a stop in Barcelona earlier this year, the production is ending its run in Madrid, where it is playing through Feb. 14, 2023, at the Teatro Albéniz.“I actually am an actor because of musical theater and musical movies,” Banderas, 62, said in an interview the next day. As an adolescent in 1970s Málaga, he explained, he grew up with the great musicals of the era, including “Hair,” “Jesus Christ Superstar” and “Godspell.”That early love was the inspiration behind Teatro del Soho, a nonprofit that Banderas compared to the Public Theater in New York, which aims to bring musicals other than blockbuster Broadway fare to Spanish theatergoers. (The company’s most recent production is Stephen Schwartz’s “Godspell.”)Over the past two decades, Madrid has emerged as the musical theater capital of the Spanish world. Among the 14 shows running there are “Tina,” “Mamma Mia!,” “We Will Rock You” and “The Lion King” (“El Rey León”). Now Banderas is trying to push the envelope with serious, complex works that are little-known here — and “Company” has been on Banderas’s mind for a long time.In 2003, Banderas was starring in the musical “Nine” on Broadway, playing Guido, a filmmaker having a creative crisis. Banderas recalled Sondheim visiting his dressing room during the run, and drawing similarities between Guido and Bobby, the protagonist of “Company.” He also told Banderas that there was more to that show that met the eye: “I love to create plays with enigmas,” the actor recalled Sondheim saying.After the meeting, Banderas said he immersed himself in Sondheim’s catalog. “Company” in particular became something of an obsession.Banderas received the composer’s blessing to change the age of the musical’s main character, Bobby, from 35 to 50.Javier NavalWhen “Company” premiered in 1970, it looked like nothing else on Broadway: Formally daring, and laced with irony, it is often described as a “concept musical” and has little plot to speak of. Instead, Sondheim and George Furth, who wrote the book, serve up a series of loosely connected scenes about a commitment-phobic bachelor and his friends.Banderas’s main change to the book is an age switch for Bobby — the role he plays — from 35 to 50. The composer-lyricist signed off on that before his death in 2021 at age 91, Banderas said.Remembering Stephen SondheimThe revered and influential composer-lyricist died Nov. 26, 2021. He was 91.Obituary: A titan of the American musical, Sondheim was the driving force behind some of Broadway’s most beloved shows.Final Interview: Days before he died, he sat down with The Times for his final major interview.His Legacy: As a mentor, a letter writer and an audience regular, Sondheim nurtured generations of theater makers.‘West Side Story’: Does the musical, which features some of the artist’s best-known lyrics, deserve a new hearing?‘Company’: The revival of his 1970 musical features a gender swap.Everything in his production followed from having an older Bobby, Banderas said. The show’s vignettes are like hallucinatory episodes, as Bobby sifts through memories and dreams of his youth; regrets take on a haunting dimension because of “the proximity of death,” Banderas added.“It was always very shocking to me how much everything was thoroughly focused on Bobby,” Banderas said. “Bobby is a charismatic character, but he’s also an egotistical coward.”In Banderas’s staging, Bobby sometimes sits center stage as the large cast rotates around him. Behind them, the New York City skyline looms majestically. “I created a glittering universe and he’s in the center, as the sun,” Banderas said.Banderas has cast most of the show’s other parts with local performers. “Twenty years ago, you couldn’t find this amount of actors and actresses in Spain,” for musical theater, he said. He also insisted on using the show’s original orchestration. “I have 26 musicians here, which is not profitable,” he said, but added, “I love that sound.” (For comparison, the 2021 Broadway revival of “Company” used a 14-person band.)To create a convincing Spanish-language version, Banderas turned to Roser Batalla and Ignacio García May, a duo who had previously worked together on “A Chorus Line.”“Every Sondheim is a challenge,” said Batalla, a translator and actress from Barcelona who was in a Catalan-language production of “Company” there 25 years ago. The lyrics and music are so closely bound in the show and, indeed, in all of Sondheim’s work, she added.Banderas and the actress Marta Ribera lead the cast.Javier Naval“You have to maintain not only the rhymes and syllables and the cadence of the music, but also give the information at the right point,” said Batalla, who has translated other Sondheim shows into Spanish and Catalan.She recalled meeting Sondheim in Barcelona, in 1995, at a performance of “Sweeney Todd,” which she had translated into Catalan. “He said, ‘As long as all the ideas get to the audience, I’m OK with it.’ He never asked us for the back-translation of any of the shows,” she said.“Company” holds some thorny problems for translators. Batalla pointed to “Getting Married Today,” a punishing, rapid-fire song for a hyperventilating bride — and a high point in most performances — as a particular challenge. “It’s very quick and it needs to be understood,” she said. Spanish had relatively few monosyllabic words to recreate the song’s patter, she added, but the language’s flexible syntax helped offset the difficulty.She left some culturally and geographically specific references to 1970s New York in place, Batalla said: Since American culture is so dominant, those still resonate with Spanish audiences. “We’ve been seeing movies by Woody Allen all our life long,” she said.May, a noted Spanish playwright, said the main challenge in translating the dialogue was finding a “high-class Spanish” that matched the snappy, urbane tone of the book. He weighed “every word, every verb, every nuance, so it could be as close to the English as possible,” he said.Critics here have largely been convinced: The daily newspaper El País hailed the production as “one of the best musicals ever seen in Spain.” For Banderas, the reception is a validation of his passion and commitment.“When we put together Teatro del Soho, it was to do the musicals that actually don’t get to Spain,” he said. In addition to his work there, Banderas recently teamed up with Andrew Lloyd Webber to create Amigos Para Siempre, a joint venture to license, produce and develop theatrical work for the world’s Spanish-speaking markets.Banderas called it an opportunity to “create a platform of Broadway in Spanish to the world.” “But it’s going to take time,” he added.CompanyThrough Feb. 14, 2023, at he Teatro Albéniz, in Madrid; companyelmusical.es. More