‘Seven times goodbye’, original theater with soul

I return to the first point to develop what I mean when I say that seven times goodbye It’s not really a musical. What essentially defines this theatrical genre is that the story unfolds for the benefit of the music, its songs and the lyrics that set the tone for the dramatic action itself. In this proposal, there is a feeling that the songs are more of a company, an emotional reinforcement for what the characters are going through. It is as if we delved into your bank accounts. Spotify as we see them fall in love, go through a crisis and try to repair it through nostalgia.

Fernanda Castillo and Gustavo Egelhaaf star in this work.

Does this make the artistic and narrative value of the montage less? Of course not. On seven times goodbye there are great songs performed by the six musicians on stage and the voices of Diego Medel, Monica Campos, Esván Lemus and Alba Messa who interpret them with unquestionable vocal quality. Simply brilliant. The songs have a record much closer to the pop genre and appeal -deliberately, I think- to create a link of direct empathy with the viewer.

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The story presents us with the breakup of a couple. She and He, what are the characters called, will try to recover their relationship, appealing to the nostalgia of what are the best moments of their relationship. At least they are for one of them.

César Enriquez plays Amor.

The narration is carried out by Love, who is as if Eros and Aphrodite take the body of the splendid actor Cesar Enriquez to begin to reflect on the vicissitudes of himself and the quintessential relationship between love and music. One of the great values ​​of the staging resides in the conception of this character, presenting love as an entity that flows between the masculine and the feminine; the androgynous, without an established rule under the criteria of the binary.

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