The “theater” sisters who are all the rage in the off scene and on Corrientes Avenue

The first thing that distinguishes María and Paula Marull is that they are twins, used to doing everything in pairs, and that feels natural to them. Then comes their slow, calm way of speaking, and further back, their deep gaze and virtuoso pen to tell, direct, and act out stories that seem small but are actually giant.

“The Marull sisters,” as everyone already knows them, have become the theatrical revelation of recent years. Playwrights, actresses, directors: they wear all the hats and currently have three plays running that receive applause both on Corrientes Avenue and in the off scene.

La Pilarcita, Lo que el río hace (What the River Does), and Yo no duermo la siesta (I Don’t Take Naps) share a style that evokes small-town life, rooted traditions, siestas, and freshly baked food. With a touch of nostalgia, emotion, and humor, they weave small memories that are at the same time universal.

María and Paula agreed to an intimate conversation (almost as intimate as their creations) to talk about childhood, memories, theater, nostalgia, play, and much more. Welcome to the wonderful world of the Marulls!

What was your childhood and adolescence like? Did you imagine yourselves in the world of theater?

Our childhood was in Rosario. We spent many hours playing; we lived on a very quiet cul-de-sac where people would put chairs out on the sidewalk and we played in the street with the neighbors. We shared a room and time. We also traveled to Esquina, where our father lived, and to Chaco and Río Cuarto, where our grandparents were. Our paternal grandmother was one of the owners of the La Comedia Theater in Rosario, so we often went to see plays for children and adults alike. Theatricality was very present in all our games, as it was for most kids our age, since back then, without technology, imagination was right at hand.

Theatricality was very present in all our childhood games

Your plays carry a nostalgic tone of small inland towns, and when you look back to the beginnings, to the roots, María admits:
“I think we are nostalgic by nature. Since I was little, I remember being aware that things end or leave. Feeling that emptiness in the morning and needing to write it to fill it; to transform it. For example, I wrote a poem for Banco Italia, which closed, where my grandfather was the manager. It’s a viewpoint independent of the geographical location.” Paula adds:
“In our plays, small-town settings appear because they are part of our imagination and DNA. It’s not a conscious effort to reinterpret the interior, but it’s the backdrop that usually presents itself when we sit down to write because that’s where we grew up.”

I think we are nostalgic by nature

What made you lean towards theater over other artistic disciplines?

It’s a mystery. Honestly, sometimes you don’t know exactly why you choose one activity over another. It’s about listening to desire. We studied acting, theater directing, and playwriting. Theater has the group component. The solitary task of writing is complemented by the group experience of bringing a work to life, both in acting and in the creative team for music, set design, costumes, and lighting. It also has the magic of the live ritual: what’s happening now cannot be edited or exactly repeated. It’s a practice that, in this technological age, invites disconnection in order to connect with bodies, feelings, and to live an experience in the present—something that is somehow being lost or transformed.

Theater has the magic of the live ritual

They say when creating, they don’t divide roles; they share, exchange, comment, and both take care of everything. First comes writing, which they approach starting from an image, where memories, landscapes, and characters appear—always as if someone else were going to direct the play. Then come rehearsals, and later the premiere, where the material continues to be polished and reinterpreted based on what happens with the audience. About this, they clarify: “After the premiere, if you can accompany the material, there’s a unique possibility for growth and consolidation.”

Your plays have family, past, roots, old wounds... What themes do you feel always resurface even if you don’t look for them?

That’s always a surprise. We never think about the plot when we write. We let the theme present itself, and many times we realize what we’re talking about through the play. We also continue discovering thematic axes the material has through the audience’s responses and observations. Liberation, finding one’s own voice, returning to origins are recurring themes. The transformation of characters toward a better version, the release from what oppresses us, certain relationships or labels placed on us. Small everyday heroes who find meaning in life by returning to themselves.

We never think about the plot when we write. We let the theme present itself

You have worked together forever and share a creative universe. You say it “helps to have the same approach to rigor, demand, and passion” when tackling a play. Paula sums it up simply: “When I imagine a green door, it’s very likely María is seeing the same door I am.” And although, like any relationship, there are light and shadows, they don’t find anything that strains their creative duo. When they think differently, they test the material because they are convinced “the play is always right.”

How was the transition from the off scene to becoming creators of “cult” theater?

We’re still off! La Pilarcita is on every Friday at El Camarín de las Musas, as well as at the Astros theater. Independent theater is a very precious place: it allows you to fulfill your dreams; you are your own producer, you do what the play needs. These are very high-quality shows where the artistic prevails, and it’s beautiful that people see them. It’s also important that this theater is popular on Corrientes Avenue, because it means people choose it for what it is: for its uniqueness and particularity. We work the same way off, on Corrientes, or in the official circuit. The only “cult” we practice is the cult of work: attention to detail, writing the best possible version of the script, guiding the actors to the most tuned sound of their instrument, and putting our heart into what we do—this is the only formula we know.

Independent theater is a very precious place

They say they often ask for help, especially from their teachers Javier Daulte, Mauricio Kartún, and Ricardo Monti, and that through that collective perspective, they can overcome their own insecurities, trust, and reach the best possible material.

They also agree they enjoy contact with the audience and it moves them emotionally.
“The miracle of feeling we can share our universe with others. That something so small and ours can be felt in the same way by so many people—that’s magic. In the applause, it’s as if they tell us: ‘I was there too.’ Connecting with people through love and feeling is something we don’t usually do. We walk around the street fighting everyday battles, often angry, defending ourselves, alienated. Maybe the same person we argue with in the morning about a doctor’s appointment is the same one who gets emotional at night, and afterward, we talk about childhood. In every show, we receive twice what we give, and that fills us with gratitude.”

In every show, we receive twice what we give, and that fills us with gratitude

You are mothers, actresses, directors, playwrights… and on top of that, sisters. How do you avoid going crazy and keep creating with passion?
A little crazy, we are! It’s impossible not to be with daily logistics and life at this pace. But what centers us is precisely creation, because it’s a space where you can connect with something deep, playful, and sacred. It’s like meditation; you open a door to go play.

It’s true there are many fronts, but these roles feed and compensate each other. Being artists makes us better mothers, and vice versa.

Children, like art, give you strength and help you understand many things. Creating is like being a mother; sometimes it has more challenging phases than others—some days you have to row hard, other days you have to let yourself go. It’s a journey. These roles are intrinsically woven into a braid representing the deepest part of our being. Making plays, being a mother, being a sister—these roles demand a lot but certainly give more than what you invest. And besides, you can’t give up any of them, so you have to learn not to drop any of the oranges in this juggling act that life has become. It’s not easy, but at the same time, it’s the easiest thing in the world because we can’t imagine life any other way.

Being artists makes us better mothers, and vice versa

The future? They don’t know what awaits them, and although they feel like trying something new and are two enthusiasts always creating, they also can pause, enjoy, and savor the present that applauds them standing at the end of every show.

THE MARULLS’ PICKS

Best play you’ve seen recently

• PAULA – With so many performances, I don’t get to the theater as much as I’d like, so I pick three classics: Nunca estuviste tan adorable by Javier Daulte, Terrenal by Mauricio Kartun, and Juegos a la hora de la siesta by Emiliano Dionisi.
• MARÍA – I really like those by Mauricio Kartun and Javier Daulte.

Best place to eat after a show

• PAULA – Lo de Lalo, half a block from Teatro San Martín. I recommend the creamed spinach.
• MARÍA – I agree! They make the best entraña (skirt steak) with creamed spinach!

Favorite neighborhood in Buenos Aires

• MARÍA – Palermo, near the river and everything.
• PAULA – Abasto. There are many beautiful theaters: Espacio Callejón, El Camarín de las Musas, plus bars and restaurants. It’s a neighborhood with a unique life. It’s nice to visit those theaters and eat around there.

Favorite dish

• PAULA – Asado (barbecue), because it has the ritual of fire and wine.
• MARÍA – I love asado because it’s outdoors; I like the ceremony of making it and sharing a glass of wine.

Recommended plan in Buenos Aires for visitors

• BOTH – Go to the theater! Buenos Aires has the largest theatrical offer in the world, with unique quality in independent, official, and commercial productions.

Favorite book

• PAULA – Claus and Lukas by Agota Kristof, because she writes a raw story like the gods, without sugarcoating.
• MARÍA – Turistas by Hebe Uhart. It’s very funny and deep. I love how Hebe writes. I also liked The Brotherhood of the Grape by John Fante.

Where to see them: La Pilarcita at El Camarín de las Musa, tickets here. Lo que el río hace at Teatro Astros, tickets here. Yo no duermo la siesta at Teatro Astros, tickets here.