In what I qualify as an avant-garde staging overflowing with boldness and rhythm, the premiere of the new version of the Teatro Icarón group, from Matanzas, of the play Pinocchio, directed by the young Rubén Javier Martínez Molina, offers the viewer a reading full of symbolism around two main figures: the famous doll and the puppeteer.
From the beginning, both characters augur an unusual message with the use of mime and apology in advancing the story of the perfectible, in my opinion, soundtrack. Pinocchio appears on the scene, tied in a corner, by the excellent actress Lucre Estévez Muñoz, when Rubén Javier himself bursts onto the stage, representing a giant Geppeto, who begins to move the strings of the little character as he pleases. absolute owner of destiny.
As the wonderful story tells, Pinocchio manages to sneak out, walk around the world, have fun with his friends, connect with Jiminy Cricket, turn into a donkey, repent…, but in the end the director of the show offers us an unexpected metaphor.
The performances of both protagonists impress by the power of the movements, with their effective gestures. La Estévez communicates the naive joy of the doll and moves him in his fits of despair and sadness. At first glance, everything is simple, but later the figurative actions provoke meditation.
As for the scenography, huge doors occupy the tables of the spacious room-theater. The light design accompanies the acting movement.
This musical mimic game, for all ages, seems to be a real scenic diversion, but in my opinion, it is a reflection on dependency, where affective feelings prevail in the light and in the shadow, the demand of those who have the hands in their hands. ligatures. An aesthetic vision of painstaking dramatic acrobatics.