Ana Monica Rodriguez

There are four actors on stage, a pianist, a trunk and more than 25 songs that give shape to Brod-Güey musicalswhere Hamlets, The Phantom of the Opera, cats, Les Miserables or José the Dreamer They are essential references to “demystify” the world of entertainment.

This musical magazine, created and directed by Álvaro Cerviño, who resorts to parody and songs to narrate the difficult process of putting on a musical, the auditions, theatrical awards, going through an endless number of intermediate topics ranging from soccer, soap operas and even those called Godínez.

Majo Bernal, Minah Cerviño, Manu Bermúdez and Jorge Mejía were chosen to recreate these musical vignettes. “They dominate this genre: they dance, sing and act at the same level of quality,” said Álvaro Cerviño about the production that has a season at the Enrique Lizalde Theater, which since 1995 has had several seasons or “reheated”, as the theater calls them. playwright.

Cerviño explained: “this musical magazine has more than 25 numbers, each one with a different theme; all of them are great Broadway hits, but with a unifying concept that leads to the world of entertainment, theater, cinema or television, including audiences, creatives and critics; In other words, all that environment shines, but presented in such a way that the public finds similarities between the world of show business and the one they live in, be it in a hospital, a police corporation or an airline.”

The musical “is a way of demystifying the world of entertainment, so full of false and superficial glamour, to show us as we are and so the public laughs and identifies us: either as executioner, victim or perpetrator. In addition, all the numbers are in a comedy tone, using parody as a tool, but not as a means to insult or insult, but to highlight in a comical way the virtues and defects that unite and separate us”.

The director pointed out: The four actors never leave the scene; there are no masks, nor insults, we do not use rudeness or high-sounding words to find an easy laugh. This musical magazine has a lot of information, it even encourages the public to return to see it again.

He added: it is represented as a comedy of art; with one or two pieces of props and the rest is recreated by the actors with the text; It is a challenge for them, since there are more than 25 musical numbers and twenty-odd characters, with different corporality, orality and vocal register.

Even “on the stage there are six coat racks, the floor is full of objects and, little by little as the play progresses, the artists use everything and deposit it in the trunk, in such a way that at the end of the Show nothing remains. It is a kind of game, in addition to the fact that the props and costumes are meticulously placed so that –practically– they turn blindly and find the piece they are looking for”.

All this creativity, Cerviño maintained, “is what theater means to me; because it is more than filling a stage with lavish, brilliant or feathery productions: it is the actor and the text to return to the roots of this art”.

This musical magazine, said the director, began in 1995. “The first season was produced by the Fábregas (Fela and Manolo), including three more, but each year the musical numbers were updated, according to their validity and interest. So, Nothing remains from the first version to the current one, only the concept that I have kept.

Brod-Güey musicalsin its new season, is presented until the end of February with performances on Tuesdays at 8:30 p.m. at the Enrique Lizalde Theater, located at Calle de Héroes 47 #122, San Mateo neighborhood, in the Coyoacán mayor’s office.

Editing: Emilio Gomez

Brod-Guëy’s musicals, “a way of demystifying show business”