Show with work by the group Los Hermanos demolishes the ‘prefabricated house’ of biographical musicals

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On display in Rio de Janeiro until May 7th, Michel Melamed’s staging oscillates between exuberance, debauchery and lack of sense by ‘re-signifying’ the most famous songs of the quartet from Rio de Janeiro. Scene from the show ‘Los Hermanos – Musical prefabricado’, playing in Rio de Janeiro, directed by Michel Melamed André Mantelli / Press Release Review of a theater musical Title: Los Hermanos – Musical prefabricado Dramaturgy and artistic direction: Michel Melamed Musical direction: Felipe Pacheco Ventura and Pedro Coelho Cast: Ariane Souza, Estrela Blanco, Felipe Adetokunbo, Leandro Melo, Matheus Macena, Mattilla, Paula Fagundes and Yasmin Gomlevsky Rating: ★ ★ ★ ♪ Show running from Thursday to Sunday at Teatro Casa Grande, in the city of Rio de Janeiro (RJ), until May 7. ♪ Have you ever imagined listening to the song Where does calm come from (Marcelo Camelo, 2003) in an evangelical service? Or did you think that Casa Prefabricada (Marcelo Camelo) and Morena (Marcelo Camelo, 2005) could be the funeral trail for wake and burial? Director Michel Melamed envisioned the songs of the group Los Hermanos in these situations and put them on stage in these contexts in Los Hermanos – Musical prefabricado, a show running from Thursday to Sunday at Teatro Casa Grande, in the city of Rio de Janeiro. January (RJ), until May 7. Musical that will arouse love and/or hate in the audience, as well as the quartet now in recess for an indefinite period, Melamed’s show has the merit of demolishing the “prefabricated house” of theater musicals. Fleeing from the biographical line and the sentimental and/or nostalgic character of this theater genre that mobilizes large audiences, Melamed inserted – or re-signified, to use a fashionable term – the songs of Los Hermanos in a series of independent scenic scenes. Scene from the show ‘Los Hermanos – Musical prefabricado’ in which part of the cast sings ‘Where calm comes from’ in an evangelical service André Mantelli / Press Release The division of the show into two acts is the only remnant of the genre’s formula. Within this unique structure, the musical oscillates between scenic exuberance, irony disguised as mockery – especially with the media in the group’s approach – and the boring lack of connection. When the cast revolves around a square to the sound of Samba for two (Marcelo Camelo, 2003), for example, the scenic effect is intoxicating. The (real) association of Conversa de Boots Beats (Marcelo Camelo, 2003) with the couple of lovers who died in a fire is a moving picture without slipping into sentimentality. The number is as attractive as the female struggle to the sound of A outra (Marcelo Camelo, 2003) and Veja bem, meu bem (Marcelo Camelo, 2001). If Sentimental (Rodrigo Amarante, 2001) is the soundtrack of a movie take at the time of filming, Anna Júlia (Marcelo Camelo, 1999) appears in various rhythms – in view of the reach of the group’s most popular song – while O vento (Rodrigo Amarante , 2005) hits hard in the scene as end-of-show music, with shirts twirling and actors simulating marijuana smoke. From a sound point of view, the musical is sustained by the band’s competence. The musicians never waver like Michel Melamed’s scenic proposals, sometimes interesting, sometimes without the slightest sense or power of seduction. However, the prefabricated musical with the work of Los Hermanos deserves credit from those who already detect the exhaustion of the formulas of biographical shows and feel encouraged to see a musical that risks changing the team that wins the most conservative audiences. Scene from the show ‘Los Hermanos – Musical prefabricado’, on view at Teatro Casa Grande, from Thursday to Sunday, until May 7 André Mantelli / Publicity

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