Updated 6/6/00

El Firulete 
The Argentine Tango Magazine

Forever proud
by Alberto Paz
Copyright (c) 1997-2000, Planet Tango. All Rights Reserved

One month after the opening of Forever Tango on Broadway, the editors of El Firulete were the guests of Luis Bravo to attend the Tuesday night performance at the Walter Kerr Theatre. Like many of our friends, we too have attended numerous performances of this show during the 94 week run in San Francisco. Yet, as we walked the half block from Broadway on 48th St. with our friend Larry Sexton, a talented floral designer with a curiosity for the Tango, it felt as if we were going to see the show for the first time

Lines forming outside the theater greeted us as we passed a street vendor offering a very fancy souvenir program. Soon we were ushered to our seats and we could not help but to notice the excitement already building in the audience. On that Tuesday night the place was packed. Then the lights went out and stars on a black sky became the backdrop for the eleven piece orchestra directed by Lisandro Adrover, with veteran Victor Labayen at his left, Fernando Marzan on the Steinway, Mario Araolaza on the keyboad, Silvio Acosta on the bass. Completing the ensemble, the bandoneons of Hector del Curto and Carlos Niesi, the violins of Humberto Ridolfi and Rodion Boshoer, the viola of Oscar Hasbun and the cello of Dino Quarleri. As they began the Prelude of the bandoneon and the night, Diego DiFalco emerged from a giant bandoneon and met sultry Miriam Larici who materialized from the darkness and joined Diego in a metaphorical scene that symbolizes the ideals of men of the night searching for the elusive women of their dreams.

We've seen Miriam with Sandor and Fabio before. On this night, working with Diego she looked as poised and committed to her role as we've ever seen her. We realized how talented and hard working she is, and how much power she projects to mesmerize the audience with her feline movements charged with sensuality and passion.

As the show progressed through the brilliant renditions of the orchestra, the riveting dancing of the various couples and the engaging singing of Carlos Morel, it was evident that Luis Bravo had done his homework. From the lighting to the costumes to the choreography to the staging, this was a show that felt very much at home on Broadway. The audience loved it. The dancers looked in top shape and it was evident that they had worked very hard to reach a point where they were connecting to the audience in every step they took.

Jorge Torres and Karina Piazza, newlywed and enjoying this moment of their young lives; Carlos Vera and Laura Marcarie very solid in their personal interface; Sandra Bootz and Gabriel Ortega elegant and flawless; Claudia Mendoza and Luis Castro pulling off incredible stunts while role playing on stage with unmatched precision; Cecilia Saia and Guillermo Merlo combination of stunning beauty and physical prowess; Marcela Duran and Carlos Gavito breathtakingly playing with lights, colors, body language and the audience's imagination; and Nora Robles and Pedro Calveyra tasteful and dignified fluidity of movements. They all received the generous approval of the audience and gave us an evening to remember.

Hard as it is to single out a performance when there is so much talent on stage, we were totally taken by the intensity, power and delivery of Marcela Duran. She originally appeared in San Francisco with Roberto Tonet, El aleman, in a very sober rendition of A Evaristo Carriego. Later when Gavito joined her, his personality and physical appearance produced a more elaborate piece of choreography and gave Marcela the chance to grow into the character while at the same time her dancing and acting skills exploded to the point that she could dance with a lamppost and make it sweat.

Perhaps, this is also a credit due to Luis Bravo's vision, who seems to have allowed the women in the cast to grow to their full potential. Miriam's closing scene, an act we've seen many times before, looked as original, powerful and loaded with details and nuances that say a lot about her talent and her dedication to excellence.

Closing our eyes at various points of the show, we tried to understand what this all means to a public and a media so foreign, so far away from the streets and corners of Buenos Aires, the Paris of South America where the Tango is a way of life for those who are born, live and die there. We wondered if some New York critics realize that by writing unkind words about something they hardly comprehend, they played to the notorious Argentino pastime of discounting the success of their countrymen abroad. Hopefully, the extension of the show until January 1998, the pleased audiences at the Walter Kerr and the assembly of two additional companies may drive the message home that Forever Tango is something to be very proud of.

| Planet Tango | El Firulete | Tango Lyrics | Video Reviews | Contacts | TangoLinks | Tango, our dance |
Website designed by Planet Tango Visual Consultants
Copyright (c) Planet Tango 1998-2000 All Rights Reserved