The book, translated by Eduardo Rabasa, contains the original text of Helm, another by Malkovich where he gathers some impressions of his experience in Mexico, and a chronicle accompanied by images by writer Fabrizio Mejía Madrid, who documents the staging.

"The staging has marked a crucial dividing point for all that take part in it. The book is born from the idea of capturing the meaning that the play has for us and so that the readers know why The Good Canary was done, what happens in theater and why 600 thousand people attend function after function," mentioned Diego Luna.

The actor added that it's a book that covers all the angles: "We find the original play of a guy that at 22 years old decided to make a reflection of what it was like to live next to a dysfunctional woman addicted to amphetamines. But the play also integrates the voyage of the director coming to a place where they don't speak his language and putting together a performance that will surely leave a mark. We hope that with the book those that watch and love theater find a different way of approaching the genre."

For his part, Fabrizio Mejía stressed that what attracted his attention the most about The Good Canary was discovering the relationship between the Mexico City of Spencer Tunick, where abortion is allowed and gay marriages are celebrated, with a play that presents the drama of an addicted woman.

"The question answers itself once one sees the play and the reaction of the public. It seems to me that we are in the presence of the development of a new skin of Mexican culture. We don't notice it, but people like Diego Luna, Gael García, the Cuaróns, Café Tacvba, among others, are a part of this new skin and it's necessary to give it this importance," he pointed out.

Diego Rabasa, manager of Sexto Piso, pointed out that The Good Canary is the third work of theater that they have published; the first was a reintepretation of the Odyssey and the second one, The Exalted.

Translated by Heather
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