14ymedio, Reinaldo Escobar, 4 December 2017 — Neither metaphorical nor allusive, but simply ruthless, the staging of The Infinite Banquet highlights everything insane, corrupt and violent that political power can be.
The play, written in 1999 by the playwright Alberto Pedro Torriente, premiered last Thursday, November 30, at the Teatro de la Luna in the Adolfo Llauradó hall, under the direction of Raúl Martín Ríos.
Yasel Rivero plays the leading role of two confluent characters: The Hierarch and The Paradigm. The first, an overthrown tyrant drawn in a monologue that serves as an opening to the drama; the second, a charismatic leader with a new social justice project, surrounded by a court of women called Virilefirst, Virilesecond and Virilethird.
Rounding out the cast are Averrara and Perogrullo. She, the voluptuous sentimental and erotic partner of The Paradigm; he, the infallible personification of the court jester, the organic intellectual, the opportune singer-songwriter.
Throughout two hours, intrigues and betrayals are cooked in a broth of human imperfections where pride, lust, gluttony, anger and greed stand out. The sin that is lacking, laziness, is reserved for those who do not want to work, identified with ‘the people’, that apparently invisible character who occupies the seats of the theater and who, here, is called The Conglomerate.
Supposedly all conflicts are unleashed in a 24-hour period, which is the time it takes The Paradigm to consolidate his power and to produce “the unmasking” of a face that “until now had to hide for strategic reasons.” The other pending issue is to decide what to name the process he wants to present to The Conglomerate.
The process is presented as “unique, original and virgin.” In the middle of the debate, the question of whether it should be called democracy or dictatorship jumps out. Perogrullo says clearly: “Despite the loss of prestige of both words, for The Conglomerate everything that is not democracy is still dictatorship.” Finally, a survey is made among the people to name it and the result is surprising.
The actress Yaikenis Rojas gives life to Averrara, a kind of First Lady who constantly reminds the leader of his commitments to “those below.” On the table, even below her, the sensual woman seems to find no end to her appetites. “I feel like eating a steak the size of my own stubbornness,” she declares discontentedly while collecting the leftovers from the banquet.
At the other extreme the actor Freddy Maragoto shines with refined force playing Perogrullo. Corrupted intelligence at the service of power brings to the aspiring dictator a precision in words and the charm of poetry. He sings a hymn to the epic that is a popular guaracha. At times he seems obliged by circumstances, but finally, when he gets a special place at the banquet table, he shows himself as he is, opportunistic and cynical.
The overflowing fantasy of Alberto Pedro borders on a surrealist hallucination in Virilefirst, a sinister, sweet and enigmatic character played by actor Roberto Romero. His militarized geisha costume represents all the creases and transvestitisms of human behavior.
Among the elements of the stage set, particularly notable are the enormous stairs that serve as platform from which to distribute bread to the people, and the rustic throne, symbol of the ambition for power. “This chair is mine,” repeats the model paradigm becoming a greedy hierarch.
The audience has fun and laughs, but surely they also reflect, faced with a representation that looks too much like a reality they know perfectly well.
The play can be seen until Thursday, December 14, if nobody in the heights of power prevents it.
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