Two stocky girls, with their trousers well on, and a boy with a kind face, in a kilt. Rodrigo García has chosen a protean acting trio as the protagonist of Christ is on Tinder, a play that premiered last night at the Teatro de La Abadía. Its title, chosen by its author before having written a single line of the piece, is an expressive slogan alluding to the subject he wanted to address (the universalization of virtual networks) and to the name of Jesus of Nazareth, whom in the text neither alluded to: Christ is on Tinder is a way of saying that “all of God is on the networks today”, worth the colloquial expression.
The Atresbandes company (Mònica Almirall, Albert Pérez Hidalgo and Miquel Segovia) is one of the best representatives of the contemporary Catalan scene. This season they are the resident company of the Teatre Lliure, where they have just premiered Desert. With the simple help of a microphone, an infinite cable and a speaker we will travel, like Captain Nemo, to the depths of our universe. Screams, stories, songs, machines and other fantastic beings populate this underworld, proving that, as Björk sang, all modern things have always existed.
Europe, the work of choreographer Sharon Fridman and stage director Luis Luque, is embodied in six performers, including Melania Olcina, a brilliant and powerful dancer on the current scene and, for years, also a choreographer who regularly collaborates with Fridman. It focuses on the verticality of the bodies and on the collective, except for moments in which a solo or duet stands out. She is leisurely, sometimes too much, although at a pace that she does not manage to weigh, thanks to the pictures that she draws together with the lighting.
The Argentinean Hispanic author braids a vigorous rosary of sarcastic reflections on human relations in times of virtual networks, supported by a trio of formidable interpreters. Criticism by Javier Vallejo.
The Atresbandes company offers a journey into the depths of our universe with a scenically radical and conceptually very rich proposal. Criticism by Oriol Puig Taulé.
‘Europa’, by Sharon Fridman and Luis Luque, recreates the myth of the kidnapping of Europa in an exquisite and sophisticated free and conceptual version, with a somewhat cold and distant beauty. Criticism by Mercedes L. Caballero.
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