s02 E06: Mornings of April and May
Last Sunday premiered at the Teatro Hidalgo work Mornings
April and May, the playwright Emilio Carballido Veracruz recently died (no marriages
reached all law, now that gay marriages are legal in Mexico City), under the direction of Ignacio Escárcega (former coordinator national theater in the INBA), Hector Castañeda (director of Rent
, Captain Gazpacho
and Porcupine , among others) as an assistant director, and Sergio Morales (director general del Teatro Hidalgo) as general producer. This work is part of the Theatre School program, an initiative for middle and high school students (this time) to attend the theater and enjoy the works attractive and well made, with the intention to plant in them the seed of love for this art.
On this occasion, for mounting
Mornings of April and May followed a procedure uncommon in Colima, starting
open auditions in December (which was attended by 37 candidates), where a selection was made that ended in the 12 actors on stage are some professionally dedicated to the performing arts (such as Jesus Villalpando, Manuel Martinez, who are teachers), others with several books to his credit (Isabel Balboa - Porcupine
,
Multiple Choice, Rosario Gomez - Rent
, Porcupine
) and other, more novel, for which this show is its first major production. Most of the latter, by Indeed, emerging from the ranks of CEDART Juan Rulfo, which speaks well of the work done at this institution.
The disparity in the tables of the members of the cast was more or less filed down, but inevitably soon left the whole tomato, especially in matters of diction. Still, the director had arranged for uniform interpretation and
not look like a work excessively uneven, but as a product generally well rounded, with details one would expect of a function of opening, but amachine the potential to eventually, considering that the work has at least 70 performances ahead. Text is
good and entertaining, but has elements and messages that, at this point, and should be exceeded in the social (however, as to speak ill of Emilio Carballido in this country is so sacrilegious as to speak ill of the virgin, better let us ignore this and pretend I said nothing.) This is not a theater cryptic or just started, but a work that can be enjoyed by everyone, including adolescents who are scheduled this season, as history shows a couple, Palmira (Stephanie Arellano) and Adrian (Abraham Rosas) that is located in the romantic-erotic awakening, and get involved in situations that are presented in such a way that moves to the identification the viewer with the character. In that sense, it is a good choice for Theater School.
Rosario Gomez, who put
Rent sensuality Mimi again to display their charms (and a work that is more mature) in the role of Juliet, the mother of Palmyra, who lives an affair with Nicolas (Ivan Rodriguez -
Jesus Gomez 2009), brother of the love of his daughter, who in turn, on the other hand, is beset by Oscar (Manuel Martinez), his stepfather. Rodriguez, incidentally, is an excellent choice of casting, as has the presence and the naturalness of the bully older brother who is linked to the lady the building opposite, it is also the best performance with vocal, and singing gets to do some background vocals to a duet with rock work, harmonious sound.
There are times particularly well made, and every time the characters are moved by truck or taxi, where good choreography (and the work of Jonathan Garcia, who plays driver and adds grace) creates one of those moments that one leaves the theater, and for a moment immerses himself in the fiction of the invisible car in which the actors are assembled. Light suggests some very aesthetic moments, like the scene of romance and Adrian Palmira in her room, although sometimes it is distracting, as well as light downstage half stalls and there is an excess of photons flying (or vibrating, according
) in the environment, creating the opposite effect to the above: you agree that you are in the theater to see a bright neighbors spectators and the magic balloon escapes from between the fingers.
Firstly, the set-designed by Arturo Nava
- imposes. This is a pair of movable structures of two floors each, with a half step
nteante Serpe and geometric design looks much and gives a particular dynamic. However, during construction, set design is moved only once, resulting in a waste, as one would think that the love handles and agility give the curved lines of its design would provide for a much greater aesthetic play on stage. Structures ultimately fulfilled its function, are used to the fullest and there is flexibility in use, but also end up having some elefantesco therefore lack the audacity to break the monotonous symmetry of mirror that are placed before function.
A deficiency is striking in this work is the lack of a musical director. The cast have Castrejón Milton, a very talented multi-instrumentalist who is putting the soundtrack live, but with whom it is evident that there was no work beyond that to learn the songs and minimal marking. Without music consultant, no one came, for example, the places where jazz could be played with electric guitar, and boleros with acoustic guitar (plus you could put a microphone discreetly voiced), there is no consistency when his character goes beyond the musical accompaniment and has to interact with others in the scene. Moreover, the text specifically demand that the player can sing and play guitar, and none of the two conditions are met, because at the time of the show, she does playback (still supposedly studying his character guitar), and when the singing (both individual and group) the thing does not go very in tune to say. Since this is a work with such music, it seems strange that the production is not worried about having the choirs who ride and work more in detail with the musician and singer, who in three months of rehearsals easier it would have taught the two chords the song that has to interpret.
A eliminársele could work at least two scenes, without prejudice to the story (although it would be a pity for the actors playing supporting characters), since the function is extended by more than an hour and a half, and no intermission, but going all fluently, and there comes a point as a spectator, complete with comedy, begins to stir in the seat. There are scenes transition without much significance (and neither are very well done) that could be cut to benefit the public.
Anyway. They say the experts out there function 20 everything starts to fall into place. We will see what will be the evolution of
Mornings April and May, it is expected that within a month we are seeing a show even more round, and filing. In the meantime, teens who attend will see out fun and happy.