Tricycle: notable suburban comedy
Halfway between the farcical and the absurd, the group La Manzana (...) Theatre has been presenting in the auditorium of the British satellite, one of the first works written by noted English dramatist and filmmaker Fernando Arrabal, entitled Tricycle, which tells the story of a handful of marginal, suffocated by a system incomprehensible to them, they find the solution to their problems in the most naive, but with worst outcome. Radically changing the tone after strong last year's dramatic exercise meant The murderers , the group insists on maintaining a collective leadership, which for many purists would be suicidal, but it reveals a great maturity stage achieved by the group, which in future could come back (who knows) the presence of an optional sole director and head of a theater project.
Climate (Alexander Carbajal), a naive street clown and Apal (Leo Zevallos), a homeless man who sleeps 18 hours a day, should get money to pay the fee for renting a tricycle, with which they earn their living by walking children in the park. While Apal prefers security offered by a seesaw, become its provisional cot, Climate talks with Old sax (Miguel Angel Malpartida), an old man who likes to touch his head to the children and then steal your cookies, and Mita (Elizabeth Duarte), a suicidal girl. The appearance of a wallet bulging man (Emilio Benavente), which regularly observes Mita, becomes the only possible solution: Apal and climate should decide to kill him to keep the money, using as bait Mita. Perhaps the story is not actually the most important assembly; is the way these surreal characters behave within their environment. In the end the vicious cycle of poverty continues to be imprisoned murderers, but still moving tricycle, Mita now and the old as their new drivers. Arrabal
indebted to the Marx Brothers, by Lewis Carroll, and unjustly accused of plagiarizing Ionesco and Beckett, get as in Fando y Lis, a stark portrait of roving characters and marginal within a society alienating texts per se that is nonsense. The characters play with language, with a logic so childlike and poetic. Death is portrayed in the most naive possible: the sky will serve weather to be always beside burritos and children, hell, to warm their bodies, suicide (for Mita) or murder (SALW) are the logical solutions and lack of malice, to end with their problems. The authority also is portrayed with the same mocking tone, or perhaps more strongly: the bedpan on his head, the fly swatter weapon and unintelligible language Guard (Benavente), make it the more absurd of all, in clear author's critical to authority.
The clean staging does nothing but respect and enhance the author's proposal, accompanied by live music with a simple and functional design of costumes and set design. The actors perform excellently, with special reference to the remarkable description of Michelangelo Malpartida as the Old, who achieved the best moments of the work with these verbal exchanges, so devoid of logic and so full of poetry at the same time, the climate of Alexander Carbajal. Tricycle marks an important step towards consolidating the group La Manzana (...) Theatre within the medium, despite its short history, already displays a high degree of commitment at each stage of their proposals.
Sergio Velarde
April 21, 2011
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