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Review: BLOOD AS FLORES

AS BLOOD FLOWER: warm tribute to the poet from Granada

Not long ago put on the table the brutal existence of some clever theatrical producers, who unscrupulously cheated the public, providing for a ride, selling features of classical authors, without any artistic and aesthetic care, educational institutions with the sole purpose of profit. And poor Federico García Lorca is one of the most preferred. However, some works such as Blood Wedding Miguel Pastor or The Shoemaker's Prodigious Wife of Juan Carlos Diaz, made it clear that other shows can be mounted without betraying decent Lorca English author. And now, beginning in 2011, it is the turn of Lorca himself to star in their own work. This responsibility fell on the director Alberto Isola and the playwright Eduardo Adrianzén, who debuted as flowers Blood: The passion of García Lorca Auditorium ICPNA in Miraflores, and while their stage show is clean and care, does not generate the whirlwind of emotions that the author of accomplishment with his own dramatic production.

Already much has been said (and written) of the controversial statement by any of the directors of the central character in the story: Federico García Lorca, generating supporters and detractors alike. And is that while the supporters can see closely the author and find out the motivations that led remarkable results in their dramatic production (his love affairs with artists of his generation and his complicated relationship with his mother), the detractors do not condone efforts to present it as a consummated homosexual simple and fearful (as his cowardice when captured by the dictatorship of Franco). The truth is that, quite apart from the impeccable characterization of actor Franklin Dávalos, treatment is given in the assembly is perfectly valid, since as shown in the playbill, this is a historical work, but fictional in terms of the interpretation of the characters.

As theatrical, Isola resolve the mounting with a sure hand, but without risk, with a simple set design and lighting that uses the stage space. The humor is completely absent in the assembly. The choreography, with actors wandering in circles, setting the pace of the staging. Breaking the fourth wall, invading the seats Lorca, is dispensable. All performances are effective, well controlled and no excesses, no surprises that provide insight into the characters. Lorca's homosexual encounters with her lovers on duty did not cause surprise or scandal at this point (as it did the same author a few years ago in the skin Demons, directed by Diego La Hoz). Adrianzén limited to a linear narrative of the Lorca's life, punctuated by notable nod to the author's dramatic production, from the Blood and Flowers that give title to the assembly, to the transformation of the mother in Bernarda Alba (both characters emblematic of the universe Lorca). Except in the latter part of the work, in which Lorca confronts her mother for the last time after being captured by General Franco, the true emotion successfully frozen, mainly thanks to the actions and Alberick Sofia Rocha García, respectively. Blood and Flowers: The passion of García Lorca is a good show, but it is exciting, entertaining, but not exciting, it's a warm but dignified tribute to poet Granada, not to exceed some of his classic works that depict with greater accuracy within the dizzying world that characterizes it.

Sergio Velarde
February 20, 2011