by Christina Clemente and Marc Engel.
list: Jorge Suarez, Laura Oliva, Hector Diaz and Paula Ransenberg.
landscape: Rodrigo Gonzalez Garrillo.
locker room: Laura Singh.
Backside: Daniela Dirty.
graphic design: Diego Heras.
lightning: Matias Sandon.
network communication: Bushy material.
Executive Production: Barbara Rapoport.
Director’s Assistant: Gabriel Bagoria.
associate producer: Javier Faroni.
normal production: Sebastian Blutracht.
Know: Nelson Valente.
Work: Friday and Saturday at 10:15 pm, and Sunday at 8:30 pm, at the Picadero Theater (Enrique Santos Decapolo 1857).
a pleasant surprise. It is the first impression that arises when the act of Lapland conclusion. It is that in the theater billboards of Buenos Aires, and especially in the commercial circuit, many arguments have been built around dysfunctional families, staging that takes place in the comfort of the living room of the house and begins peacefully but then ( as expected) proceed in the event of no return. And when some of those elements appear, The work works as it is known, derives from a novel, playful and fresh alternative.
The scene, well, takes place in a house of Lapland, the northernmost region of Finland. Olavi, his Argentine wife Ana and their younger four-year-old daughter Aina live there, where they meet their sister Monica, her husband German and their five-year-old son Martin. Meeting Pretend: Spend Christmas with family, and enjoy the northern lights while passing by, which is the highlight of the place. But, as in any good comedy, the original project goes awry. And it is that, as is known, Anna reveals an uncomfortable truth to her cousin Martin, and the conflict between the minors alters the peace of the adults and exposes them to their contradictions and sorrows.
Catalan authorship, written in four hands Christina Clemente and Marc Angelette, the piece gains strength in the field of interpretation, thanks to the virtuoso who applied the body. In this point, Jorge Suarez (olawi) mother Laura Olive (Monica) teaches acting from the moment the play is mainly structured on her dialogues. And it’s that the spark of the host and her sister-in-law is drawn almost from the start, and is approached by characters from that contest. Paula Ransenberg (Ana and Hector Diazu (German) To make an unsuccessful attempt to act as a referee.
With a Finnish accent that goes unnoticed, and always adds humor at the right time, Suárez establishes herself as an excellent comedian, while Oliva supports her, her career as a comedian. Also confirms the quality. With a solid trajectory in the offing, Ransenberg and Diaz effectively support the scaffolding of a setting in which if nothing is lacking it is play, a resource it cannot lack when it comes to theater making. However, the fact is that the four connect and flow not only because of their own merit, but also a result of one’s direction. Nelson Valente, a director with a highly trained eye on stories where human bondage and existential dilemmas take center stage,
can’t say that Lapland Tackle a specific topic, as it will be partially true. Instead, there are many issues that are settled at the table, triggered by a single trigger: Christmas and the existence of Santa Claus. But from there the most diverse reflections arise with a focus on the clash of paradigms and peculiarities. Believe in Magic or Reveal Trick? Feed fiction or impose reality? This debate makes use of this proposition that manages to touch many springs. And that, in a circuit in which it is normal for comedy to surface, is something that is always appreciated.