TOLEDO
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Of the theater and other evils… that lie in wait for the corrals It is a completely “morboric” show, which summarizes a style, an aesthetic, a way of interpreting, saying, moving and staging that is very typical of this group that already has thirty-five years of experience on stage.
Both from the text of Fernando Aguado As from the direction of Ana del Palacio, it is intended to articulate a story that looks at the backgrounds and in the forms of the lopesco theater and its school, including the use of verse, with innumerable winks and paraphrases of well-known texts of the Golden Age. But this This work, which wants to be a tribute to the world of theater, especially to the life of artists, sometimes sticks too much with that dramatic idea of the “journey to nowhere” that Fernán Gómez told us so well.
That hymn to the profession that is anchored in the irrationality of the theater’s poison is the recurring central motif of the dramaturgical proposal. However, it is not necessary to leave the understanding only in that emotional thread and in the sense of humor with which it is unraveled, but rather it is necessary to see the postulates of classical theater integrated into current reality. Of course, constant reference is made, perhaps too much, to the countervalues of the precariousness and insecurity of the sector, the difficulty of sustaining the companies and the struggle that must be carried out, drawing milk from a jar, to put the productions on their feet. And no less important is the sting, fair, to those who against all odds continue to tax twenty-one percent on this cultural activity that is so necessary to promote education and the critical sense of a progressing society. If I had to conceptually summarize the content of the show, I would say that we are facing the dramatization of the graces and misfortunes of the profession of comedian. But this approach to scenic passion is carried out with a lot of humor, both in the textual and in the dramaturgical, and the audience laughs and laughs, although deep down the reality that is painted is a rather crude reality.
It is evident that the work, presented as a burlesque and tangled comedy in the style of those of classical Spanish theatre, never loses sight of the tragedy of the comedian’s life and the reflection at the end leaves us with that bittersweet taste that conveys the message of how most comedians live and how they are always at the mercy of the will and money of the powers that be.
The picaresque, cheeky and foul-mouthed world shown in the work is very interesting and populist, it is funny and produces an evident empathy that achieves the complicity of the spectators.
A capital part of the show is the live music, very well chosen, performed and agreed with the different scenes and also when it takes center stage outside the performance itself, as occurs in the introit and in some moments when the curtain even falls. and the musicians play alone as if it were a concert. Magnificent that piece with the curtain lowered (a fact that made a stage transition possible).
The author, Fernando Aguado, and the director, Eve of the Palace, also protagonists in the interpretation are the heavyweights or masters of ceremonies who, with their experience, lead the performance. Your work is excellent. And excellent that of the whole group, both in movement and gesture, as well as in the very plausible way of saying the texts so that they are well understood. Very versatile Virginia Sánchez in her role as Ines. Alexandra Lorente has drawn a very painterly Marilina and has excellently outlined the contrast between what she represents (a non-professional from the theater) compared to all the others (members of a company), perhaps the topic of composing her as the image of a Marilin Monroe somewhat silly (something that, by the way, the reality of the mythical American actress shows that silly, nothing).
The public, who came to the Teatro de Rojas until it was almost full, had a great time and had the opportunity to smile for a long time with the Morboria show, which is appreciated in these times of pandemic fears, rising inflation and an uncertain future.
Now to hope that the spring program reopens the theater every week and that it does not spend months closed in one of the few sustained cultural programs in the city.
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