“Religion is inherited, like Peronism”, affirms in her popular wisdom the protagonist of this dramatic monologue, written by the actress and playwright Jorgelina Aruzzi, where the color mentioned in the title, in no way refers to the female struggle for the right to legal abortion, as one might think at first, nor does it refer to the impressive homonymous portrait of Camille Doncieux, painted by her lover and future husband Claude Monet, in the mid-19th century.
Here is a woman deposited on rubble who tells us the story of her life through small pieces where stories and characters intermingle. Some as striking as the friend Delia, who “has the face of a dish, but she is a sun of a person” or the cousin who, due to suffering from a terminal illness and not having enough resources, must wear a wig made of that synthetic material called kanekalon, which a Japanese company developed in 1957.
The actress Dalia Elnecavé gives life to this lady who calls herself a specialist in lace and knows how to recognize the quality of a product just by seeing it in the windows of the silk shops. She also describes the culture of sacrifice, when she mentions that she saves so that one day she can buy a house. The reference to her daughter appears in the story, a leftist militant, who is agnostic, because “in the mess of the logic of faith, the question is: who created God?” She also talks about her ex-husband, she remembers him as beautiful, although a liar and reflects on the marriage, blaming him for the death of love. To the narration he will add a reflection on the fragility of the body and it is here, where we stop, so as not to reveal where the story continues, since the initial candor ends up being transmuted with a historical and impressive theme that should not be revealed.
Aruzzi, especially in the descriptions, demonstrates handling the narrative springs well. The actress Gloria Carrá, exploited from the direction the interpreter’s genuine resources, although she forces her to travel a single expressive rope that, at times, dangerously touches her monotony. Elnecavé, she emerges gracefully from the experience, however, the presence of a greater dramatic dedication in the construction of this cracked character is missed.
