that of tootsie is the story of an actor who, fed up with jumping around in castings, decides to dress as a woman and -after finding work as an actress- she triumphs and falls in love with a colleague who does not know her true identity. In 1982, the film starring Dustin Hoffman made an impact and made history. There is also a stage version on Broadway. Work recently premiered at Lola Members was nurtured by both.
THE tootsie Local already started off on the right foot. In a version by Fernando Masllorens and Federico González del Pino, and directed by Mariano Demaría, the character is played by Nicolás Vázquez, who plays that role on stage and who He also bets as a producer together with Gustavo Yankelevich.
Until now, shows that are sold out in advance and audiences waiting for your exit to say hello I’m a thermometer of what can happen with comedy from here on out. On the other hand, Vázquez is by now already used to full halls and the fervor of his followers. And the stakes are getting higher and higher.
Adapted to the present and to the local context, this update gives the job an extra nuance that is useful for bringing it closer to the public who have not seen or heard anything about the famous Hollywood film. By the way, it accounts for the validity of a material that has been advanced, by decades, to the debate on issues of gender, feminism and patriarchyamong other topics.
It’s also good for Vázquez, who can give his Dorita Sánchez (the name that Santiago Dorsey, the failed actor, invents to try his luck). a local touch necessary to make the character closer, believable and likable.
But, just as in the 1982 film the focus was on comedy and Hoffman’s characterization, these aspects are also part of the plot in the play, although without going too far in line. The climate of the time is used, naturalizing the theme, but without losing sight of the love story.
The setting that reached the Buenos Aires billboard is a true blockbuster that spares no well-used resources: a scenography, designed by Tato Fernández, which changes continuously at a fast and precise pace, a design of costumes, Renata Schussheimdeluxe, as well as musical direction by Gerardo Gardelín and Dorita’s characterization by Verónica Fiorabanti.
A proposal of these characteristics is another example of the quality that Argentine theater has offered to its audience, from all areas.
Source: Clarin
