This endlessly inventive production starts with onstage vaginal Ready Steady Cook and only gets weirder from there.
The set and prop work overshadow everything else. The show’s programme warns the story is indecipherable, and the music and singing go unnoticed when someone is using a neon pasta-maker attached to the singer’s head. Furthermore, for a tango operita, there is very little dancing.
This won’t be to everyone’s taste, but the scope and imagination of the staging eventually win you over. For sheer mad spectacle, Maria de Buenos Aires doesn’t just take the biscuit: it takes two.
Saturday 21 August 2010 by Jonathan Holmes
Saturday 21 August by Jonathan Holmes