It has a dream team headed by the playwright Mariano Pensotti, who also did the staging; Daniel Veronese as director, Mariana Tirante in the set design and the five protagonists who are as compelling as they are solvent: Adrián Suar, Griselda Siciliani, Benjamín Vicuña, Jorgelina Aruzzi and Peto Menahem.
“Congratulations” It is, a priori, the work in which nothing can go wrong, with a plot that first precipitates the catastrophe and then calms it down. It can’t go wrong because it starts from an original text by a local author such as Mariano Pensotti, a solid playwright and director who has been going strong (he captivated with “The Years” at the Cervantes and many others in the off-screen such as “The Past is a Grotesque Animal”). The first success is not having resorted to the formula of a proven foreign text but rather the commitment to local talent at the dramaturgy level.
It also has direction from the experienced Daniel Veronesewho flies from one circuit to another without stops, between risk and the known, plus the infernal quintet led by Adrián Suar, Griselda Siciliani, Benjamín Vicuña, Jorgelina Aruzzi and Peto Menahem. And it is presented from Thursday to Sunday with 15 weekly performances.
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The story is woven between conflicts that are in a crescendo, first a marriage on the verge of separation, then their encounter with another couple who mirrors them and opens the game of contrasts, to give way to the medium, Peto Menahem, from which the most hilarious and supernatural events will come. The idea of a house that gets bigger and smaller as truths or lies are told uses a scenic device that is the best thing about the work, designed by the great Mariana Tirante, a frequent collaborator of Pensotti.
The play takes place like a light and funny TV series on stage, with actors well versed in the art of making people laugh and accustomed to this type of characters. They even allow themselves to make jokes about always doing the same thing. It is not advisable to advance further about the plot but it is advisable to say that the solvency of Pensotti In building plots, it proposes a crescendo that goes through all the themes, until the climax with the protagonist’s dead mother, the childhoods of the characters and what they once were and what they became.
It is worth highlighting the work in the artistic fields of Sofia Di Nunzio in locker room, Matias Sendon in lights, Gaston Briski in sound design and original music and sound effects Diego Vainer.
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The work amuses more than it excites, with less transformation in the dramatic arcs than Pensotti is usually used to, with less risk, but with the infallible formula to captivate wide audiences. At times the character traits are archetypal, but perhaps it is the nerve that these actors give them. They are less enigmatic than what Pensotti has offered up to this point, but more hilarious and immersed in self-confidence. A play where you see them playing and enjoying, and the audience laughing out loud.
Source: Ambito
I am an author and journalist who has worked in the entertainment industry for over a decade. I currently work as a news editor at a major news website, and my focus is on covering the latest trends in entertainment. I also write occasional pieces for other outlets, and have authored two books about the entertainment industry.
