Fabiolo, who lives in La Moraleja, is modeled with the clay of comedy to build the archetypal character with a tennis shirt, sunglasses and a good economic situation that overflows the words with twangy diction. An identity with many ballots so that viewers receive it with dislike, for showing so much self-confidence and dividing the world between your vulgarity and your fantasy. However Fabiolo likes him because he ridicules everyone with that badass that does not let him see that he is the first ridiculous and so, with the feeling that we are all submerged in the same sauce, laughter breaks out in a story where the thousand and one nights are spent between sheikhs, Berbers and deities of culture popular.
The scenery, although it also uses some elements of props, is constantly built and transformed thanks to a sound space that underlines the actions of a text that handles a multitude of referencesranging from the echoes of Les Luthiers, to the entanglements of Cantinflas, or the style of someone who recites verses from the Golden Age and is thinking of Gomaespuma.
‘fabiolo connection’ ****
Direction:Rafa Maza and Joe O’Curneen, in collaboration with Los Síndrome.
Authors: Alberto Galvez and Rafa Maza.
Rafa Maza puts the public in his pocket from the first moment, you actually need it there for the laughter mechanism to work perfectly. You can only enjoy this adventure if you are part of it, if you let yourself be carried away by a dramaturgy that shakes narrative languages, words in an avalanche, imitations everywhere, juggling games and a musical bouquet of copla, pop and cuplé. Everything is concentrated and explodes in a neat and perfectly defined acting work, where each puya, joke or joke is perceived diaphanous, with the time and attention they need to make it clear that, after so much frivolity, the most important thing in stories is the morale.