Mil Vezes Revista
How do you sell a show before you have a show to show?
Campaign strategy, content development and commercial monitoring for a major Portuguese musical revue, directed by Filipe La Féria at Teatro Politeama, Lisbon.
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Projects where creation, communication and the box office had to think together.
The projects that follow are not presented as a gallery of finished pieces. What interests me is showing the thinking that made them necessary: the problem that had to be understood, the promise that needed to be built, the audiences at stake and what the box office revealed along the way. In theatre, a campaign rarely follows a linear process. It changes with the show, the calendar, demand and what audiences give back. These projects should be read through that relationship between creation, communication and behaviour.
Carmen Miranda — O Musical
Revealing the woman behind the icon, without diminishing the spectacle that made her unforgettable.
Carmen Miranda — O Musical began with a figure who was instantly recognisable, yet whose public image had grown larger than her own life. The exuberance, the gestures, the songs and the iconic silhouette guaranteed recognition; on their own, they did not guarantee curiosity about a story shaped by displacement, ambition, success, belonging and reinvention. Directed by Filipe La Féria, the show embraced that mythical dimension through a large-scale production, with monumental sets, sumptuous costumes, music, movement and a visual language conceived to give audiences back the sense of an event. The communication work consisted of balancing these two dimensions: using the force of the icon and the spectacle of the production as a way in, without allowing the woman and the complexity of her story to disappear once again behind the image.
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FÁTIMA — Ópera-Rock
Finding a contemporary language for a story that already belonged to collective memory.
FÁTIMA — Ópera-Rock brought to the stage one of the events most deeply present in Portuguese history, faith and imagination. Filipe La Féria’s proposition was neither a straightforward reconstruction of the 1917 apparitions nor a conventional religious illustration. It built a large theatrical narrative about a country divided by war, by poverty, by the conflict between the Republic and the Church, and by a collective need to find hope. At the centre of that narrative were three children and an experience that would transform not only their lives, but also the identity of a place and the way Portugal would come to be recognised around the world. The communication work had to acknowledge the spiritual and emotional weight of the subject while also revealing its historical, political, human, musical and theatrical dimensions. The challenge was to build a campaign able to speak to believers and non-believers, to musical theatre audiences, organised groups, visitors and international spectators, without turning faith into a commercial argument, without reducing the story to a religious reading, and without concealing the contemporary ambition of the production.
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