Fátima Florez after imitating Milei: “Did you see how they applauded him when I did it? Almost 60% voted for him!”

It’s all a disaster, poor woman, an audience that adored her and, for marrying a candidate who became president, she has to endure catcalls, catcalls and “Milei, rubbish, you are the dictatorship.”

Poor thing, you think as you go to the theater to see the debut in Mar del Plata of Fátima Florez’s opera which, less than a month ago, was something like our first lady. None of this will happen. Pure conjecture from a misguided reporter.

After the show, there is a chance to talk to her a little and you want to know if she isn’t afraid that the echoes of the other day’s cacerolazo will reach her, for example. Fátima listens warmly, but she doesn’t like the question at all.. “Why are you telling me this? Didn’t you see how they applauded him when I did it? Almost 60 percent voted for him…” The conversation is interrupted when Dibu Martínez’s father and sister approach for a selfie.

Going into the debut, the standapero shines Giuliano La Bruna with its intelligent inputs. And the interventions of Marcelo Polino -who doesn’t just live among cathode rays- are witty, biographical, celebrated and entertaining.

Suddenly the highly awaited moment of the night arrives. The moment that cut the most tickets. The new imitation in an evening full of classics: Fátima caricaturing President Milei. The number is short. If you open your eyes you see Milei (excellent adaptation). If you close them you listen to Professor Neurus.

But what Fatima says is true: people applaud, celebrate, have fun like crazy. And also applaud the viral cumbia There’s no money.

The speech at the end

After finishing with Milleuno, Fátima presented herself to the press dressed as an otaku. Generous, calm despite the two-hour performance. The media passed by one after another and it was almost one in the morning. A heat map of his answers would say, in football terms, that Fátima declares with a field. The word “freedom” became important in his speech.

Then we wanted to know if she feels like a “first lady” and she grumbled with infinite patience. “We have already talked about it… We are a couple, we are engaged“.

Entering the room you could see an audience absolutely ready to have fun the entrance fee which paid between eight and 12 thousand pesos. Ladies on holiday dressed to go to the Palace. The husbands are stuck in the chupines. Women on platforms. Masculine men in sweaters with patriotic faces saying “nothing happens here”.

This Fatima makes the audience enter a strange boil. As if she didn’t know how to react to a figure with extracurricular attributes. It makes sense, lady, just relax and let go. Let it flow. And the woman in her sixties gets up and threatens to keep getting up, now standing in the chair.

It’s like this: we Argentines are not used to first ladies in action. Rather, always a contemplative, serene, elegant role, Juliana Awada. Or, at best, the famous woman behind every great man.

One voice

At the entrance to the Roxy/Radio City we listen a single repudiation of Milei. Only one. Urgent. Isolated. The voice receded and peace reigned again.

Fatima 100% It is a bet that, between morbidity and natural charm, promises to be the most viewed work of the season. Yesterday they showed the poster of worn out for the first two functions. They say it’s Mar del Plata’s best start to the season.

This is Fátima’s first appearance on stage as first lady. Ironically, the first lady is a blonde who became famous by imitating Cristina Kirchner, a character who still today continues to be the catchphrase, the I only ask God of the popular comedian.

You had it a meter away. You shared the same oxygen. Good taste, Mr President. Fátima has a new and specific splendor but she is gauchite, she helps you look at her differently by virtue of curves that never separate her from the world of entertainment.

In María Eugenia Flórez, like her real name – actress, dancer, singer, model, presenter, imitator, comedian – it is easy to imagine a life full of neighborhood triumphs. This makes her adorable. The intimate Fatima has to wash her hair with Tio Nacho and if you show her an avocado, she will surely run away.

However, It goes beyond gesture and voice. It’s as if he manages to capture the essence of all his creatures. (female). Susanna. Mirta. Christina. The overall setting is worthy of a star. There are seven screens, acrobats, dancers, musicians. Nothing to envy of the great Broadway shows. .

The poster reads: Address, Fátima Florez. Choreography, Fátima Florez. Book, Fatima Florez. Costumes, Fátima Florez. Makeup and hairstyling, Fátima Florez. Totalizing credits that mark the enormous difference between a simple imitator and a comedian. She and Carmen Barbieri, the only appreciated artists who managed to put their bodies at the service of talent.