Between legs and curtains | Brod

Farce, parody, cartoon, comedy, sketch, little musical…? It is difficult to classify a show like Los musicales de brod-guey, which have elements of each of these formats, but mixed in a way that makes it unique; without exaggeration, a real genius!

It is not a new format, since it arrived in our country at the beginning of the 90s, that is, three decades ago, coming from New York, exactly from Broadway, from where the name “Mexican” was born.

A little jump into the past.

At the beginning of the 80s, in New York the show arose Forbidden Broadwaywhich as its title anticipates, brought closer to the forbidden, to the hidden, to what is not said, since it parodied the theatrical world of The Big Apple using for it the music of iconic productions of all eras.

The show was a milestone because it brought to light what the entire New York theater community knew, but that no one dared to say, and that said in a comedy tone was enjoyed to the fullest.

The success was such that the staging was on the New York billboard for years.

In the mid-90s, the always innovative Fábregas couple (the well-remembered Manolo and Fela) brought the concept to Mexico, which they called simply The musicalsand in which Laura Luz, Enrique Chi, Eugenio Montessoro and Leonora Ardón performed, who appeared in a small venue (formerly a hamburger joint) in Insurgentes Sur, next to La bombilla square.

The original creative team was made up of Alejandro Oribe, Fabiola La Rue, Isaac Saúl and Álvaro Cerviño, the latter responsible for adapting the lyrics of the songs.

And it is precisely Álvaro who has taken up this project on various occasions over the last two decades, as is the case now that under the title Brod-güey musicalsThey are in season every Tuesday at the Enrique Lizalde theater in Coyoacán.

As in its previous versions, this production is very, very, very funny, and at the same time it is critical, critical, critical of reality, not only theatrical, but television, cinematographic… in general, the artistic reality of our country.

On some occasion, Cerviño recounted that in the original staging in New York, the importance and number of musicals that exist on the billboard allowed the parody to be completely around them; however, in our country, he considered that the staging would connect better with the public, making references to other media, such as television, for example.

And the truth is that Álvaro’s decision, —who is now not only the author of the lyrics, but also the stage director— is more than wise, because with these adjustments, the empathy that is achieved is absolute.

Obviously, the proposal requires performers who are excellent singers, since they are faced with issues of great vocal demand, and who also have an enormous acting and comedic capacity. They are María José Bernal, Manu Bermúdez, Minah Cerviño and Leo Bono; to whom we must add the maestro David Federico Suzawa, on the piano.

The production team is led by Toño Romero and Mónica Bravo.

Broad-guey musicals It is a staging enjoyed by the entire audience. You don’t have to be a theatrophile to enjoy it.

Between legs and curtains | Brod-güey musicals