The daring of facing a musical-theatrical show is celebrated, based on the tango style of the ’20s, ’30s and ’40s, although with a completely new repertoire. The effort to face a production with economic limitations and with a lot of lung and enthusiasm is applauded. The audacity of daring to put together a performance without a single traditional or well-known piece is celebrated, beyond listening to waltzes, milongas, styles, zambas and, of course, several tangos, which evoke the way of writing music and lyrics of times very glorious of the genre. “La vida en tango” had already been put on in Paris. Now some functions are being done in Buenos Aires and in suburban towns. It is a play by the singer-songwriter –and here also a playwright- Hernán Genovese, who created a small love story for a couple to show his ideas and his works and offer a sort of musical magazine through which musicians, dancers and singers.
The weak points of this proposal are in the staging and directing of singers/actors and, above all, in a dramaturgy that fails to sustain the dramatic tension. Points in favor, on the other hand, for a locker room that delivers a lot with few resources and, especially, for individual tasks. The participation of the singer/violinist/actress Carol O’Farrell is original, although at times a bit overwhelmed. The tango quartet led by pianist Roger Helou has a very good level, with Lucía Ramírez on bandoneon, Javier Kase on violin and Juan Manuel Gómez on double bass. It complies without shining and with a secondary participation the dance couple of Florencia Méndez and Pedro Zamin. And the highest point is in the vocal work – not so in the acting of Sandra Márquez and Genovese himself, who have to defend an unknown repertoire that competes in style, although not always in its good results, with the great classics. tanguistic.
