Review: A Cool GARDEL'S TANGO

GARDEL'S TANGO/written & directed by John R. Lacey/Zephyr Theatre/thru December 18, 2016

The world premiere of playwright John R. Lacey's GARDEL'S TANGO serves as a unabashed showcase for Anibal Silveyra, who's allowed complete free rein in his portrayal of real-life, turn-of-the-century, international film star Carlos Gardel. Silveyra easily commands centerstage in this cast of six with his heightened silent movies/early talkies methodology of theatrics. Silveyra possesses a beautiful and strong operatic voice with a charismatic stage presence, which Lacey's continuously highlights. As directed by Lacey, Silveyva's Gardel is always 'on,' even when he's revealing his 'deeper' feelings. Curiously, Silveyva's obvious pancaked make-up contrasts with all the other's more realistic appearances.

GARDEL'S TANGO begins in Buenos Aires with the younger Gardel working as a fruit vendor while hoping for his big break into the entertainment arena of the tango. Gardel cozies up to Isabel (Mantha Balourdou), the 'niece' of the popular singer Maestro (Richard Lewis Warren). Isabel's introduction of the two men result in a new musical duo act.

Hildy Brooks readily shows maternal concern as Gardel's befuddled mother Maman who doesn't want her son to leave her in Buenos Aires to tour and become a success.

Saratoga Ballantine registers well as Baronessa, a married woman so entranced with Gardel's charms, she bankrolls Gardel's climb to fame.

Faring the best of this ensemble, Agustin Coppola as Gardel's confidante/right-hand man Lepera. Coppola's the most naturalistic actor of the group easily communicating Lepera's insecurities and loyalties.

Nice vocals from both Coppola and Warren.

Compliments to Daniel Keough for his appropriately cheesy nightclub/dressing room set. Choreographer Alicia Savio merely teases with short tango segments that never catch fire as a hot tango should. Same could be said about GARDEL'S TANGO.

BTW: Why does the commitment-phobic Gardel wear a wedding ring?

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