The 80s are back: funny crossover between magazine, comedy and musical

★★★★ Book: Cecilia Milone and Nito Artaza. Idea and general direction: Cecilia Milone. List: Nito Artaza, Cecilia Milone, Gustavo Monje, Nando José, Vicky Dolan, Gero Arias, Belén Di Giorgio, Estefanía Pastocchi, Ariel Pastocchi and LeFer Ibarra. Musical direction: Gustavo Calabrese. Choreography: Ariel Pastocchi. Scenography: Daniel Feijoo. Lights: Yonatán González. Locker room: Diego Moyano. Theater: Atlas, Av. Pedro Luro and Tres Arroyos. Functions: Tuesday to Sunday, at 10 p.m. Duration: 120 minutes.

MAR DEL PLATA.– The idea is good and effective. Appealing to the 80s to amuse and make the public laugh in the midst of the pandemic is a proposal that is appreciated in this complicated season in Mar del Plata. Some may argue that that decade, which followed the traumatic 70s, was something banal, but that does not mean that it ceased to be absolutely necessary and balsamic. That is why what the artists offer today on the stage of the Atlas theater finds a favorable and immediate echo in an audience eager to abandon, even for a while, this other unfortunate time.

The revival, or escapism (depending on how you want to see it) begins with an accomplished medley of pure rhythm and precision, including themes from A-Ha, Los Twists, the films Fame Y Flashdance, hits by ABBA, Raúl Porchetto, Boy George and The Culture Club, Lionel Ritchie, Valeria Lynch, Las Primas, Viuda e Hijas de Roque Enrol, Charly García, Loco Mía, Sandra Mihanovich, Soda Stereo and Los Abuelos de la Nada. This first group painting is followed by several solo moments by Cecilia Milone, who dazzles as always with his great voice (although sometimes he exaggerates in power) and his interpretive capacity; and of Nito Artaza, with his effective routine of magazine jokes and a gallery of knockoffs which, in keeping with the times, includes, for example, former Presidents Raúl Alfonsín and Carlos Menem (undoubtedly their greatest achievement in the show).

In The 80s are back there is also space to remember the programs of that time, with brief fragments of sketches of Marriages and something else, No button touch, Calabromas, Porcel’s kittens and mice, Monumental Moria and the various cycles of Tato Bores. In the painting of “La Tota y la Porota” (starring Jorge Porcel and Jorge Luz), Gustavo Monje stands out visibly as a counterpoint to Artaza.

Nito Artaza and Gustavo Monje recreate the famous sketch of “La Tota y la Porota”

Then Cecilia Milone reappears showing an unusual side: that of extreme humor. By imitating Susana Giménez in a parody of her program, entitled “Hola, Cecilia”, and by starring in a moment dedicated to remembering the “Sundays for youth” cycle. Another find, which is presumed to be homegrown, is the songbook of national themes that achieves total adhesion in the audience. The same, later, that the danced tribute to Diego Armando Maradona (inspired by the ’86 World Cup final), a real find, led by LeFer Ibarra; and the tribute to Raffaella Carrà, two moments of great emotional impact, which crown a show that with good weapons mixes the magazine with the musical and the comedy.

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