Theatregoer's Choice: EL CIRCO
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Buenos Aires Herald. Buenos Aires, Friday, November 22, 1985
Alberto Agüero en El Circo
By Liz Jackson
EL CIRCO: A most magical way of presenting life is being recreated onstage by Alberto Agüero’s troupe of dancers, mimes and gymnasts in El Circo, which is probably his very creative way of saying “Life is like a circus!”
From the very start, when an onstage observer of life is convinced into taking part in the circus show, and he is transformed into a clown, the players draw their audience into sharing their world of love, hate, fun and dance through a series of excellently choreographed sequences. Dressed in simple but extremely effective costumes with harmonizing make-up, we are presented to the juggler, the acrobat, the bad woman and man, the lions, the devil and the angel.
Tap-dancing together or separately, miming their different parts, all in perfect self-control of their bodies, these young dancers take us through, among others: Nacimiento, one of the outstanding numbers because of the witches’ masks and imaginative choreographic movements; the Historieta para mirar, where the circus characters dance and mime through a love story between the lady acrobat and the clown; and the first part of the show ends with a very professional Solo en tap by young Costanza Asquini and a visually impacting Fantasía en blanco y negro by the whole cast.
The second part of the show begins with the very funny pantomime
numbers; in one of them, Alberto Agüero himself acts
out the part of a magician, helped by a very expressive and agile Mirtha
Fuentes (who happens to be a real dwarf); in another
Agüero silently (except for the very aptly chosen music) takes us
through a simulated
number.
In the finishing sequences, the various characters take part in Una ‘simple’ historia de amor, Tap del olvido, Tap de la alegría to finish with Partida, when they all sadly realize is time o wrap up the show.
The different stories, choreography and directing has all been in the hands of talented Alberto Agüero, and his troupe are his best pupils at his dancing school; outstanding, apart from those already named are Miguel Mancuso as the devil, Mónica Provoli as the bad woman and Mónica Calabró as the acrobat. The music is a potpourri of classics by Nino Rotta and Fats Walier; the imaginative costumes were designed by Alberto Tarditi, the witches’ mask made by Edgardo Veltry and Elba Bairon, make-up by Ricardo Espeche.
Produced by Bayona-Barreira Producciones, this is a worthwhile show not to be missed by those who enjoy musicals. (Teatro Liceo, Rivadavia and Paraná (Tel. 38-4291); Fri, 9 pm; Sat, 9 and 11pm).
