One must not find hilarity neither comedy in the newest piece to be premiered next Thursday, "A Children's Chorus", on Grand Rex at midnight, which is located a few blocks away from the symbolic City's Obelisk. Because although on the narrative as well as the joyful colour put on stage invite the audience into a light atmosphere, this is simply not freed from the horrendous image where human ethics is portrayed every time the mysterious starring man sordidly appears on scene. Alfredo Fish, the veteran actor that made the decision to impersonate such deceitful character, looks so convincing about the rightness of his act, that among social institutions ranging from culture office to chief police office, it is discussed whether the man must be take into custody as an accomplice on a public felony.
What could look mostly exaggerated, at the end we are talking about nothing but an artistic performance. However, according to declarations by several critics, the social tension brought about by the play has made the assistants look like witnesses, even intellectual companions. It is not surprising then that none of the one hundred and twenty people beholding the only open general essay, three weeks ago, had agreed to make declarations, adding to that the fact that a growing portion has asked for long licenses at work. At this moment, it is worth mentioning the pitiful decease of Enrique Restrepo, 26, one of the preview's assistant, due apparently to circumstantial reasons. It was expected for coming rehearsals to be opened too, but the flood occur ed on the practicing place caused the mentioned to be the last trial and meeting of the whole of the cast that will be representing the play in the Grand Rex.
It is known that the young director seems as an ambitious, enthusiast man, regarding his own work. He's been present on every aspect of the play, and has made his name into the limited circle of dramatic theatre by mere pulse. Although maybe this time the excess of self-excitement has gone beyond the limit that is commonly imposed to the artist. We must clarify now that as humans, active and conscious members of society, and journalism professionals, it has taken a superlative effort from us to deploy the present critique.
The tale of mister Dracula (Fish) is the persistent attempt to find salvation by publicly exposing each and every one of the ideas thoroughly becoming into the fatal act, and Act that was vetoed by call from the producers' office and is establish in the background as Tell-Tale Heart hidden under the floorboards. Such greedy strategy, the look for compassion, goes over several failing stages, the next being a worse bloodbath than its preceding. From the open rehearsal, the crimes that implied body mutilation might have implemented prosthetics with a denser recipe for the blood, keeping the stage not to be so broadly covered in a matter of minutes. All those crimes, to be noticed, are explicitly considered as the only chance for mister Duque to challenge the perspective of the committed acts by Dracula back in the "Tell-Tale Heart" Period.
A lot of them criticize from the play the absence of a female character, one mister Dracula could be shown involved with. In response, some apparently more insightful analysts find the missing twist at the moment the mister begins operating into the clearing dawn, where confusing dialogues take place with the feminine whispers of Aurora (Florence Mendoza). Such appreciation is based as well in the visible change in Duque's modus operandi, that could be considered as 'techier'. Please realize that the idea depicting technology as the core enemy of a society that is based in the solid grounds of bureaucracy, as it occurs in most of modern nations, is simply outrageous and wrong. Considering the enormous moral playground the play proposes. The character, that surprisingly performs a thrillingly unexpected abandon of his self, along with a drastic reduction of hours of sleep, approaches towards his maximum vulnerability, confessing at the time (or performing, a fact that cannot be verified) act where the idea of condemn looks such an empty concept. Having in account that the concept itself is the cornerstone of our current litigating systems, it is a fact that cannot be simply overlooked.
The story of Mr. Duque is the inquiry regarding the true extend of human condition. To that they are inherent hatred, intelligence, greed and all the other tools evil uses to develop. Finding live on stage an Act that escapes from all possible psychological contents, is valid to affirm now that the mentioned condition has been transgressed? If at last the gravest fact is overcome (one could think of that fact as being related to death or prohibited behavior from war conventions), what must the depth measure parameter be? What comes next, if one could possibly discuss the idea of repair, or something now unthinkable, pardon? It does not come as a shock that the trial scene, where tension provoked minor strokes among members of the audience (beign Restrepo one of the misfated victims) and more than one retirement from theater, was a silent one. Motionless, gazes forming an orchestra as melodic as it was exhausting.
And finally we wonder, when the star has finally unveiled as the enemy that was suspected during the entire plot, how could there be a happy ending? It will be then the audience members due to be entailed of the task, look up and answer, as part of the set of people Dracula or Christian Duque or whichever identity the character assumes -perhaps as a way to escape from something bigger and more abominable than his shadow at five in the afternoon- during his universal crime, can there be Redemption, after the height of the cause.
