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| Teatro de la Zarzuela newsletter June 2018 HOME | SEASON | SUBSCRIPTIONS AND TICKETS | DIDACTIC PROJECTS | AUDITIONS | GALLERY | WHAT'S NEW | ABOUT US | INFO | JOIN US | ||||||||
| The Spanish musical review or comedy was a sophisticated version of its class, close to the ideology of the audience which called for this type of shows. But in the post-civil-war years in Spain, censorship conditioned subject matter and plots, so the petite bourgeoisie’s thirst for enjoyment had to be slaked by humour bordering on the innocent and in good tone; everything would fall within the limits of pleasant toeing of the line, with nothing risky on the subject of great ideals or social values. In its day 24 hours of lies! was considered to be a work of great agility and movement on stage, as well as an excellent example of a show suitable for all audiences, full of feathers, sequins and Carmen Miranda style fruit-laden headgear. The “Alonsine” melodies are peppered with exotic notes – thanks to Alonso’s mastery – with “eloquence, glamour and melodic authority” in the American rhythms and melodies, as well as in the Spanish and European ones. With this work, Jesús Castejón, the stage director, has rediscovered “those scents, sounds, murmurs and melodies that I experienced when very young when the theatres of Spain were the early scenarios for my games and adventures”; we’re talking about a good comedy which tangled itself up in the most entertaining way possible”, making this comedy “a great Spanish musical, as it was at the time when it was first performed”. Carlos Aragón, the musical director, stresses the singularity of the piece as a musical comedy “which shows its links to the musicals which were having their glory years both on Broadway and in Hollywood in the 1940s. But this singularity is rooted, furthermore, in its more castizo – genuine Spanish – format, because this is a brilliant review, woven together by a plot which sits between the improbable and the surreal. It’s vaudeville in its authentic form”. In short, Alonso achieves an atmosphere with this music which is always at the service of the theatrical pace; which in this case is frantic and inspired. Sanzol’s free version and Castejón’s theatrical art work together to give us a sparkling show, reflecting some of the ills of the society of its day and of today, and focusing on the brazenness of the world of haute cuisine, politics and show business. | ||||||||
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