Review | Musical ‘Tempo Certo’ is a profound and poignant analysis of what it means to love

Throughout history, several thinkers have sought to analyze human relationships and, above all, have tried to quantify the durability of passion and love. One of the most famous philosophers to analyze such themes was Zygmunt Bauman, who spoke about liquid love and its ephemerality at a time when any element present in society slips through the fingers at a frightening speed. And that’s what ‘Right time’musical that is playing in Viradalata Theater, says: is it better to get involved with someone else with the idea that the crush will disappear? Or is it correct to let things unfold in their own time and end when and how they should?

The story, signed by Rafael Pucca and based on the short film ‘Even if Everything Ends as Before’in Daniel Caselli and mariana martinezfollows a couple that metamorphoses into the contemporary multiplicity of the meaning of loving in the “time of cholera” – a resignification of the novel by Gabriel Garcia Marquez, refurbished from a unique perspective that has already instigated us from the first moments. On the one hand, we have Cris, a character who unfolds in impeccable interpretations of Álvaro Real and Éri Correia: Cris’s personality is depicted in a calculating spectrum, who needs to have control over everything and refuses to be disappointed, even more so considering the daily struggle she has with the publisher she writes for and who demands a new one from her bestseller about romance and love; from another, Daniel Cabral and Vanessa Melo embody Duda, the exact opposite of Cris, infused with an immaculate desire to live that touches on the inconsequential and that calls into question the way his romantic partner sees the world. Both close a kind of agreement: end the relationship within a year (according to Cris, the expiry date that passion has).

At first, the narrative seems too conventional to deliver something new – but Pucca, who is also responsible for directing, promises that the plot is deeper than it appears and, in the end, exceeds our expectations. After all, being human is a complex and exhausting task that pits us against ourselves in an agonizing and disturbing constancy, incapable of throwing ourselves, without fear, into something new and that stirs up the butterflies in the stomach. Cris is in a private prison, inside the calculating fortress he built to protect himself; Duda, in turn, has his problems, but he reaffirms that the supposed “out of control” is nothing more than a way of screaming, at the top of his lungs, “f*** you” to the world and the institutions it represents.

The four actors on stage transmute into different couples, but which share similar personalities and common goals – therefore, it is not surprising that this dynamic scenic organism calls our attention. Real and Correia plunge into a final realization that they are on the verge of doubting absolutely everything they have defended so far, playing with shyness, self-control and self-sabotage in a candid and relatable way (the one who writes to you was even represented more at once); Cabral and Melo, posing as Cris’ complements, give Duda a panorama of pure surrender, moving with enviable fluidity within an ode to love and all the good things it brings. All confined to a stage that bets on the bare minimum and gives the cast plenty of room to go big, an archetypal epitome of something we’ve all lived through.

Take the time to watch:

In addition, we have an impeccable redefinition of the discography of Roberta Campos, whose songs go through an adaptation process that values ​​dramatic tributes that will take the breath away and bring tears to even the most skeptical. Here, I pay special attention to “From January to January”which closes the piece with emblematic perfection, packed with emotional vocals and an applaudable naturalness – and thanks must be made to Thiago Perticarrariresponsible for the musical direction and arrangements, and for the duo formed by Rodolfo Schwenger and Felipe Parisithe latter dominating a soaring cello and the other guiding the poignant subtlety of the piano.

Deviating from clichés, although not completely denying them, ‘Right time’ He hits the spot by knowing how to deal with the non-linearity of his story, merging past and present in small jewels that never tire of him. There is an almost timeless idea that permeates the structure of the musical, which is why anyone who watches it can identify with it – and I can guarantee that the reflections promoted by the production last even after the curtains close.

Remembering that the play is on display at Teatro Viradalata until the November 28th🇧🇷 Click here for more information!

Don’t forget to watch:

Leave a Comment