Fátima for everyone – I’m so / Concept and direction: Norberto Marcos / Cast: Fátima Florez, Julian La Bruna, Maxi Chavarria, Fernando Samartín, Cristian Ponce, Francisco Arriagada, Roberto Rebollo, Daniel Hood, Mauricio Camuglia, Eugenia Speroni, Ana Izaguirre Iribarne, Quintana Alma Gómez, Pascual Aldana, Triana Ybáñez / General Production: Enebe Productions / Choreography: Paola Garcia / Costume: Gliceria Ibarra / Set Mauro Parissenti / Lighting Diego Alberto / Audio Miguel Alberto / Hall: Tabarís / Length: 130 minutes / Our opinion: good <. /> p>
The structure of this new show of the renowned impersonator Fátima Florez is expected: a very weak dramaturgical line that serves as an excuse to make way for the different characters imitated by actress. A public meeting of psychoanalysis by Leo Tusiquis (Julian La Bruna) to assess the health of the actress before a potential for multiple personality disorder. Participation of La Bruna gives Florez enough to change costume, hair and makeup, and thus represent different characters long. So go through the stage their most popular imitations. Xuxa, Susana Giménez, Shakira, Moria Casan, Michael Jackson, Madonna, Tita Merello and Nacha Guevara, among others
The actress and mimic the show catches shoulder and gives a good pace despite the excessive demand. As for his imitations there is not new since they are more known through television. Florez is ubiquitously on stage, in another example of how this theater has become utterly dependent on it. Some jokes and comments are only recognizable if consumed gossip programs. Judging by the reactions, the audience recognizes each and every one of these references (Vicky Xipolitakis falling on stage, the frustrated kiss between Iliana Calabro and boxer Maravilla Martinez, among others).
Y is precisely why it is surprising that they have not made any updates to the development of cultural industry itself makes minute. If the show’s jokes the actress is the “week to week” of show (which the public should know to get the joke), it would be good that the structure of a sketch not behind in these developments: it is questioned Susana Giménez accept doing theater when in fact already debuted a couple of blocks away. It is clear, that is said in a video that did not turn to film to suit today (time? Costs?), Because ultimately strangely no one is looking “likelihood” in a show that is playing the mimetic. And that is a game that moves with ease Florez has since made a career of these parodies, achieved some better than others.
It is necessary to clarify the potential viewer that since the death of fiscal Nisman, popular imitation of the President is out of the show. Only appears in a phone call from one such Florencia de Olivos, celebrating winning the program Susana Gimenez to give him a wallet to his mother, named Cristina. This cyclical political joke and one about Boudou are the only two of this style. It all ends with a long and unnecessary video of participation Florez in Show Match, but people seem to enjoy it even though I already saw him live when it aired in the program.
Finally, it is noteworthy very markedly with Fátima Florez, two of his scene partners who bring talent, emotion and risk: Samartín and Maxi Fernando Chavarria. Sandro Imitation is one of the sublime moments as surrenders tribute to the artist by the imitator who starred in the musical tribute. And the presence of Chavarria with urban aesthetic is remarkable for his talent, but also because Norberto Marcos, the director, makes a bet risky and attractive cultural crossroads: does not give the public only known but it lets you discover an aesthetic that not circulate through the same means by which he does everything else (the massive tele), and thanks to Chavarria people enjoy and deservedly cheers. There generosity of the first figure, Florez, which provides space for personal outshine is also seen. .
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