★★★ “The good guys die before the bad ones,” says a heartbroken Lila (Esther Goris), the woman who suffers from bipolar disorder and has just found out that Dr. Rauch, her psychiatrist for more than twenty years, has died under uncertain circumstances.
Crazed, while transmitting the news to her children Boris (Fabio Di Tomaso) and Ariel (Mauro Francisco), as a curious effect of the pain she feels, she devotes herself to packing most of her belongings, to be delivered to humble people. Witnessing this storm of extreme mood swings will also be the young Anita (Nayla Golvas), the partner of her eldest son.
What will have to be determined is whether the health professional committed suicide or was murdered. Over the course of the seventy minute piece, we learn that there are more than a dozen allegations of abuse against the therapist, so nothing is what it seems to be. Even a shocking revelation about the ex-husband of the protagonist and father of the boys will also be added.
Written by the prolific Rosario playwright Patricia Suárez, the work has an almost police intrigue mixed with moments of black humor and irony, something that the author handles skillfully and oiled.
Goris embodies this woman, affectionate with her offspring to the point of being overwhelming, who changes her name according to her emotions. Thus, to accentuate the mutations, at times she is called Lilian, Doris or Betty, which allows the actress to demonstrate her great capacity on stage by going through different nuances that go from feeling sad and depressed to excitement and intense activity. .
He accompanies, very well, the young Di Tomaso in the role of the youngest son who has been raised and grown next to an older brother in whom the family placed too many responsibilities. Francisco, next to him, imposes himself as the one who should have assumed the task of covering the figure of the absent parent and being the support of that intense and absorbing mother. Quite a surprise is Golvas, replacing Bárbara Vélez (absent due to pregnancy) who must face a suggestive and well-kept nude, with his back to the public.
The cast is very well managed by the right hand of director Diego Rinaldi, a skillful cast-arranger, who has known, with great rhythm, how to play out of this tangle of secrets that will be revealed. In the creative areas, the music of the composer Mauro García Barbé stands out.
