Inside An Oscar for an Oscar we are in the city of Los Angeles, on the day the Oscar ceremony is held, the Oscars; specifically, in a modest motel on the outskirts of the city, in the room that will serve as the only setting, and where, through a glass window, the gigantic Hollywood sign can be seen in the distance. Here comes Óscar Manzano, a young director whose short film was nominated for awards, accompanied, even he doesn’t know why, by Minister of Culture Guillermo Barrientos and Minister of Finance Irene Navarro.
In between continuous fights between the two politicians, who can’t stand each other, and a few hours before the start of the ceremony, young Pauline, an “escort”, appears in Óscar’s room, secretly hired by Guillermo to pretend to be Oscar’s girlfriend. Oscars during the gala and on the red carpet… (THEATER OF FINE ARTS).
Mario Hernandez drive and write An Oscar for an Oscar, a comedy that shows the crazy adventure of a young director nominated for an Oscar for best short film. So, under this premise, the story uses the most canni comedy to portray different phases of Spanish society. On the one hand, a view of the political class is exposed, through two ministers who, despite their eccentricities, draw a very well stated truth. Later, the very criticism of cultural contempt, especially in the short film, places the spectator and how this feeling is socially perceived in the mirror. However, it also brings to the table the price of making dreams come true, as well as the need to know what you want. In this sense, it reaches a more intimate and personal side.
Hernández uses the best-known comedy in the Spanish industry, recalling all-time classics. Within this grotesque and, at times, surrealist style, it appears that he seeks to reclaim this type of humor. However, It is worth mentioning that it eliminates jokes that could be out of use and gives it a modern and very current aroma. Therefore, it pays homage to the classics of what is often referred to as “españolada”, carrying it as a flag and with pride. Thanks to him, manages to connect with viewers who get carried away by this kind of genre, although there may be another part of the participants that may create reluctance. Even so, what both parties agree on are the powerful points of hilarity that exist in various scenes of the montage.
Jon Plazaola leads the cast of actors, giving life to the protagonist who gives the work its name. In the first place, highlights the innate naturalness Plazaola, who knows how to combine the personality of his character and the way he conveys it on stage. Through this organic temperance, he draws the main characteristics of his Oscar, which allows him to keep it in a well-planned coherence.. However, the histrionics of some of his colleagues means that in some parts he remains on a lower plane. Despite this, his interpretation enjoys a good execution. Later, Agustín Jiménez understands his mission in the play and takes it to the end. That physical humor, accompanied by a recognizable spirit for the general public. Therefore, delivers what it promises and makes a plausible laugh outing.
For your part, Mara Guil becomes Jiménez’s adventure partner, forming a well-executed set with it. In the case of Gil, presents a powerful, parodic performance where more is more and that’s what he does. With that, he doesn’t seek the most human or everyday verisimilitude, but to make his character an authentic live meme. And he succeeds. Some of the funniest parts are starring Guil, which indicates its good work on the boards. Last but not least, Rebecca Hall complete the list. On the one hand, It enjoys a very tender energy and the stain of light. But, on the other hand, in the face of so much movement, it is in the background, which does not impress the spectators. Despite that, He is solvent and fulfills his role on stage.
Despite being set in the preview before an Oscar gala, An Oscar for an Oscar He doesn’t succumb to the glamor that comes to mind when talking about Hollywood, but opts for a more decadent character and in tune with the story. Thus, the setting builds a space that emulates a low-budget motel room, which retains its charm by having the “Hollywood” sign on its terrace. On an aesthetic level, We must applaud the work of the artistic composition, who knew how to create the perfect setting for the work. The rhythm also gains a dynamic component, mixing with that sitcom style, and even touching on the physical humor, which doesn’t need to be sustained by the word.
Therefore, The montage enjoys a structure that unfolds perfectly, which takes the viewer at all times on that roller coaster of actions. However, in the last passage of the piece, a deceleration of the rhythm is observed. Consequently, it makes the audience feel that it loses a bit of steam in its last part, as the previous climax remains so high that, deflating in this way, it ends up affecting them in a less positive way. On the other hand, the more technical composition, such as the sound space and lighting, end up spatially completing the proposal. There may not be an artistic innovation with a more emotional impact, but it is the perfect gear for what is proposed in this theatrical show.
An Oscar for an Oscar pays tribute to Spanish comedy, through the use of the most characteristic humor, giving it an aroma of modernity and social criticism. Thanks to this, Hernández brings a work in which the spectator bursts out laughing, but at the same time reflects on different important points of society. A script that flags those deemed “Spanish” with a twist that lets it not stay there. Later, the acting cast is dynamic, crazy, highlighting some great Jon Plazaola and Mara Guil. The staging ends up consolidating the image and personality that the play seeks. An ode to Spain’s most characteristic cañí style with a twist that viewers love.
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