★★★★★ At the theater, do the impossible. It is the path to excellence”, asserted the great French actor and director Jean Louis Barrault (1910-1994), on the occasion of one of the three memorable visits he made to our country. The phrase falls like a glove on the occasion of “A dangerous man”, the surprising creation of Ariel Núñez di Croce, based on the life of the Italian journalist and anarchist, emigrated to Argentina, Severino Di Giovanni, and inspired by the book ” The idealist of violence”, by Osvaldo Bayer.
The proposal, actually a theatrical experience, almost cinematographic, begins with a riddle that allows the attendee to go to an address where a secret meeting will be held. We are in 1925 and there, in the germ of the revolutionary movement at the beginning of the last century, a journey will begin in which the public is not a mere spectator. On the contrary, it will be an active part of the representation and will enter fully into the same events that the protagonists go through. He will witness an attack on the Colón theater, Severino’s arrest, his friendship with Paulino Scarfó, and his sister America, who would be the great love of his life. Also his fiery preaching against injustices from the pages of the Culmine newspaper, the passage to the violent revolution with attacks on banks and the Italian consulate, the capture, torture, trial and execution, in 1931, under the regime of the dictator José Félix Uriburu and to the chronicle of the writer Roberto Arlt, who was present at the trial.
Neither stars nor adjectives are enough to describe this prodigious immersive experience in which fourteen actors not only give life to the different characters, but also collaborate as machinists, assembling and disarming the different spaces in which the action takes place. It is impossible to mention them all, but it would be unfair not to highlight Ariel Núñez (Severino), Felipe Corrado (Paulino Scarfó), Luján Blaksley (América) and Adrián Santagata (the Russian philosopher Bakunin).
The detailed recreation of the period by Mauro Puppo, the costumes by Juan Marin and Sol Rosli and the lighting by Paula Fraga, provide a verisimilitude that is rare in independent theater. It should definitely be mandatory viewing.
