In the afternoon the combined group met on a terrace of Restauradores, for the usual cheerful prattle before dinner, that would happen on a terrace on Rua das Portas de Santo Antao, complete with grilled seafood or other lagareiros snacks, accompanied of street entertainment. The singing of the national and international popular music was ambient sound, followed by her frantic juggling of a capoeira group. The interaction was mild but fun, as always. The bill was paid quickly not to lose the beginning of the show, that was about to start. But all we needed to do was to cross the street.
Portugal à Gargalhada - Portugal to Laugh (PG) is a revista à portuguesa (a Portuguese theatre genre that mixes singing with sketches, usually funny and wit social satire). It is showing at Politeama, Lisbon, with Emglish subtitles. It begins with a sketch that tries to mix fiction with the reality that viewers had the opportunity to witness live before entering the room. The actor mimics the La Feria - the director - who loves shouting to the public to sell them the program, it always helps to purchase a few more precious bucks to pay for the precious production given to us.
Onset is typically magazine rack, but I liked more the beginning of the previous revista, seen a year earlier (the Portuguese Grand Revista - Grande Revista à Portuguesa - GRP), with a stylized satire dedicated to the masters of the Troika that at the time were around here. That was also good, but to the latter I will dedicate today's words.
I do not think special grace to the usual rhymed phrases of some scenes, although the own style of theater that director-director-rp-marketeer-and-everything-and-everything, except that the always brilliant Marina, which unprejudiced shows us one day on the day of a character, from waking up to shower, put on a cap, having a tummy ache, trying unsuccessfully to relieve gut and leave for work. Almost always rhyming on a brilliant monologue, of course.
Monchique has equal brightness, mainly puppet of wistful Amalia with interesting contracenas Garrett, Sophia or other persons who are (or want to be) in the National Pantheon. Black played once again by Marina leaves the audience laughing as the title of the show but this actress singer is due another memorable scene where on stage at the São Carlos plays a lyrical singer who likes to mix in some well known themes opera, letters of other known fados. The result is quite hilarious because of her voice and her brilliant interpretation. Memorable theme music in Barcelona that doing Monserrat Caballet is accompanied by an equally good singer, Ricardo Soler, who does a Freddie Mercury to the level of that singer.
The play is also headed by José Raposo and by Maria João Abreu, kings of vaudeville, which was rummaging La Feria to return, in this production, the theatrical sea in that as well swim. After all, this is their theatre kingdom. It's good for the public good actors as they occasionally leave the screens to give us with these unique moments of ephemeral art that is theater.
Also noted are the remaining good professional and experienced artists, like singer-actress Paula Sá, Patricia Resende, Filipe Albuquerque, Bruna Andrade, Miguel Paul and David Mosque, which round out a cast of about 70 elements, including actors, singers, musicians and dancers.
But Filipe La Feria shares the laurels of authorship with Helena Rocha, staying in charge of the choreography Marco Mercier and musical director Mário Rui.
The production communicates this magazine, like any of this musical genre worth its salt, takes the stage at the Politeama "the good-natured and biting the situation of Portugal of today and their protagonists critical reviewing our current politics, economic and social with a razor-sharp and scathing criticism, full of humor [and] music."
Three hours of big smiles and ripped then returns to the public, probably less funny than that false life, but laughter and true happiness real life.
Outside the theater people disperse. Will already high at night and my group will also firing with time. Slowly, we walked at night and moments later pass us, already unmasked and dull, Marina Mota and Joaquim Monchique, who we welcome with enthusiasm for the good work they have done.
Yes, for them it is 'only' work. But for us - for me, at least - all that work, all that production, this entire industry is a service provided willingness to society and the art world.
Whether or not one likes this kind of theater, so often despised by the most conservative or the most intelectualóides liberal intellectuals.
I, at least, I review it always favorably, like the first time I participated in a revista (amateur) - Saídas da Casca - Outputs of Hull - in the mid-90s, my first theatrical experience, which would open new perspectives for me this world make-believe. Lots of sand since then went on my way. I remember now that at the time I went to see a revista - Mama eu Quero - Mama (Breasts, in Portuguese) I want - where were, precisely, Maria João Abreu and Joaquim Monchique (among others of course), in roles I never forget.
A big thanks to all the professionals of art and a special stage director of the Saídas da Casca, Elizabete Lobo, who as actress Mama I want, more than once took me to their scenes. Still insists - very well - in making this genre does not die in Seixal. Even an amateur way, the love for this art is nonetheless true.
Not tried to be analytical of the revista here frisked as to cause me to revisit memories that I ended up lightly. Not intended to do so. But I suggest reading the analysis that Nuno Lopes does in Nineteen page (with the right to meaningful comparison with the previous GRP). But better, better, watch it live. To laugh. In the theater, of course.
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