Horacio Otheguy Riveira.
Since its premiere in 2017, this version of the PasoAzorín Theater Company has taken many turns, performed with great success in various theaters and then highly requested by various producers, after the pandemic it was decided to park it and deal with other creations, of Ramón’s own authorship. Step or with own versions of various authors. The truth is that here and now, on alternate days with another excellent version (Dreams of a seducer) it reappears with news in the cast and staging adjustments. The result can not be better.
You have the eyes of a femme fatale… on the radio, adds to the original by Jardiel Poncela (premiered in 1933), the talent of his great-grandson, Ramón Paso, who skips the prewar years to transfer the action to a radio studio in the postwar period of 1941. For which a complex mechanism with amazing harmony between diverse genres: high comedy; popular comic comedy with a farce touch; grotesque humor through which several shots of black humor, political semblance… and a charming romantic melodrama are filtered, all for a parody of classic Don Juanism submerged in a historical context that unites nonsense with social tragedy.
Such a structure obtains an exemplary dynamic thanks to a splendid unifying direction, supported by a distribution of different styles that combine an admirable balance, because when in the second part all the genres intersect as if on a great avenue full of traffic, nothing becomes confusing, the love is love-love and the comedy is a hilarious game of constant surprises provided by each of the two authors, but unified by a Ramón Paso who excites, dominating such a style as if it were a brilliant musical, with all the movements of the actors perfectly choreographed.
And something else whose scenic revelation is very solid in the field of fiction, but whose ultimate meaning has biographical elements of Jardiel Poncela: his conflicts with censorship in the Spanish postwar period, his great frustration over his time in Latin America, and a great love lost that returns and with whom he does not know what to do, how to do to bring it back to life, to its own existence.
Ramón’s admiration for the career of the great-grandfather he never knew translates into a highly interesting stage experience in the hands of a well-established cast that has Sergio Otegui in the double role of Jardiel and the actor who, on the radio, is forced to play the character, the Don Juan who drives women crazy, every time he tells them: You have the eyes of a femme fatale…
In the same line of testimonial and radio sobriety of the 40s, it stands out Agnes Kerzan, and in front of them, the exuberant humor of Ana Azorin like the cleaner who doesn’t cut a hair and the abandoned lover who enjoys suffering in perpetual tears.
For its part, Juan Carlos Talavera He despairs as the director of the program full of difficulties, and entertains as an impeccable English butler in the Spanish style (a perfect recreation of the servant of Mozart’s Don Giovanni).
accompany them Jordi Millan and Angela Peirat in a hilarious twist of the last section…
Reina Victoria’s happy idea of recovering one of the greatest playwrights in the history of Spanish theater in a respectful and at the same time audacious version of a man of today’s theatre.
When it came to covering my great-grandfather, in a kind of posthumous collaboration, I chose this piece because it contains the virtues inherent in Jardiel: wildly modern comedy, vitriolicly suggestive intelligence, and love. Jardiel was a romantic and, like all romantics, he went from passionate ardor to stark cynicism with the ease of a Russian ballerina. (Ramon Paso)
With: Jordi Millán, Inés Kerzan, Juan Carlos Talavera, Ana Azorín, Sergio Otegui, Ángela Peirat
Author: Enrique Jardiel Poncela and Ramón Paso
Address: Ramon Paso
A Paso Azorín Theater production