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My mother, my girlfriend and me. Author: Mechi Bove. List: Sebastián Presta, Graciela Tenembaum and Victoria Almeida. Scenography: Daniel Feijoo. Illumination: Jorge Traferri. Locker room: Marita Zarco. Music: Gaston Baremberg and Diego Olivero. General production: Luis Penna, Marcelo Giglio and Diego Djeredjian. Direction: Diego Reinhold. Functions: on Thursdays, at 10 p.m.; on Fridays and Sundays, at 7:30 p.m., and on Saturdays, at 9:30 p.m., at Paseo La Plaza, Corrientes 1660. Our opinion: very good

A loving trio. The scariest, the most passionate. Two opposite women and a man who can’t choose. It could be dramatic but it is a comedy with a happy ending written by Mechi Bove and directed with the precision and humor that he knows how to give. Diego Reinhold to their shows.

It’s Christmas Eve and in the neighborhood house, Fernando, a forty-year-old bachelor, puts together the little tree. Leticia, his girlfriend, is about to arrive, an opportunity used to introduce her to her widowed mother. The romantic story is present: they are two lovers who plan to live together. In one of the highest moments of the work, they tell how they met with a song while dancing, an example of theatrical synthesis that the musical achieves in just a few strokes. Thanks to that scene, we believe in that love between two beings with such different pasts and we also see another Fernando, the person he is when he moves outside the maternal orbit.

Tenenbaum's mother has nothing to envy the characters of Waiting for the float
Tenenbaum’s mother has nothing to envy the characters of Waiting for the floatCourtesy My mother, my girlfriend and I

Between them, there is an overprotective mother –”my name is Victoria, it means the one who wins”, she tells Leti– sitting on what she considers her own by natural right, her only son who never left home, who did not cut the iron bond stretched by a woman tied to mandates that made her very unhappy. Self-conscious, Fernando endures that endless night the pressure of two realities, that of the family of origin with its non-transferable norms, and the social one, governed by another type of worldliness. That mother, a character from our grotesque, in the style Waiting for the carriage, is the one that tightens the rope without letting pass not even one. Politically incorrect, ”from another generation”, she does not admit to sharing her baby.

Great choice of the director to give this leading role to Graciela Tenembaum: his Victoria is scathing, irritating and continually generating discomfort that only decompresses with laughter. It is also a merit of the direction that two interpreters with trajectories as different as Vicki Almeida, linked to theater training from a very young age, and Sebastian Lends, humorist and comedian, blend seamlessly. All three play the same game, that of a very well structured popular show, with clear markings and where it is obvious that those who do it are having fun. The ending, with photos on the screen, is a closing with the tenderness that was needed after the acidity.


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