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The theater is always a miracle. And in these dates and with the circumstances that surround us, and more. On Wednesday night, following the premiere of “Host” in the Roman Theatre of Mérida , the word “miracle” turned to ooze from several lips. Just two months ago, no one could think that the festival could be held this summer, and even still every function in this and in other competitions, theatrical and musical is a victory over the virus and one more step in the conquest of the normal.
Because normal is what is breathed (filtered through the essential masks) in the theater , both on stage and in the seating , where the public does not need the ‘burundanga’ to forget for a while that you’re living outside of the domains of Talía.
a Few domains these days occupy Jupiter and Mercury , two roman gods, which, along with the human Host , Alcmena, giant insects and Tésala, are the characters in “the Host”, a work that, in the words of Juan Carlos Rubio, the adapter and director of the function, it is “a story of beings duplicate live the amazing paradox of be of skin out, and that mix the divine and the human , the passions and the hatreds, of the infidelities and desires, laughter and some other feeling.”
“Host” –whose last visit to the Festival of Mérida was eight years ago, from the hand of Juan Carlos Perez of the Source, with a version of Eduardo Galán– is a text written by Molière from the original of Plautus ;it is in reality a rewrite. It premiered at the Théâtre du Palais-Royal in Paris on the 13th of January, 1668. Account of the adventures of the god Jupiter, to be able to seduce Alcmena, takes the form of amphitryon, her husband, is absent because of the war. To avoid being surprised on his return, Jupiter’s charge to Mercury, his son, to prevent that no one will bother you, for what this last one takes the form of a servant, Host, Lookalike. The duplicity of characters and the race of mortals with their mirrors divine generates the entanglements of a play that was controversial at its birth, because he accused Molière critique with this pattern the dreams loving King Louis XV of France.
Juan Carlos Rubio, a director with as much skill as good taste, has placed the plot around a rickety covered wagon that reads “Circus Olympus” , and the characters in the artists of this faded marquee. But it is only a wrap , an aesthetic option that is enormously attractive. The scenery of Curt Allen Wilmer, Leticia Boor and Emilio Valenzuela –supported by a magnificent and colourful costumes of Paola Torres and a successful illumination of José Manuel Guerra– it is a suggestive framework for the staging, where there are hardly a few drops of that world with circus –there are knifes and a lot of attitude clownesca in the characters, but little more.
“Host” is a comedy of manners no more. Do not pretend otherwise –will help the music of Julio Awad and the scenic movement of Chevi Muraday, a luxury– that entertain and amuse with your history of misunderstandings and mirrors that today in day is difficult to support. Rubio exploits the humour of the situation and of the text to make the feature a comic skit of stroke thickness which, under the terms of the public’s reaction Wednesday night, achieved his goal of communicating with the viewers;as well as assured Dani Muriel after the function, that was, for him, the same as for Toni Acosta, his debut on the always impressive Roman Theatre.
Precisely, Muriel and Acosta stand out in a cast that is complete Pepón Nieto (also producer), Fele Martínez, Paco Tous and Maria Ordonez : the one by the dignity that it accords to its character, Jupiter, and the latter by the various colours with which he paints the funniness of his Alcmena. The production, announced Pepón Nieto, is born with logic vocation of continuity, and certainly the course of functions going fine-tuning details that help to enhance rhythm and to tone down a comedy is based often on the cartoon.
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