City Paper

Friday November 4, 2005 - Thursday November 10, 2005

Justo en lo Mejor de mi Vida ("Just at Life's Best Moment") "I always thought my death would be a tragedy," complains Enzo the bandoneon player, who's understandably distraught to discover his demise playing more like a sitcom. Alicia Muñoz's 80-minute one-act can feel like a TV half-hour stretched to fill, but Teatro de la Luna's production, set to the jaunty-melancholy sounds of tango, has its pleasures. Most come when director/star Mario Marcel isn't busy overplaying the comedy: Peter Pereyra's otherworld-weary Piguyi, back from the beyond to ease Enzo into the afterlife, has an intriguing stillness about him, and there's even a piquancy to Marcel's disenchanted dreamer as he wonders how he went from romantic youth to bitter middle-aged man without ever meaning to surrender. Self-conscious performances and dubious design mean some moments could be rawer and others could be funnier, but Muñoz understands how self-doubt can make a man mean even to the ones he loves--and how to keep her cautionary comedy on the safe side of maudlin.

A drizzly, slightly chilly Saturday afternoon is as good a time as any to ponder life’s big questions. And few come bigger than: “What will they say about me when I’m gone?”

Pity poor Enzo. In Argentinean playwright Alicia Munoz’s dark comedy “Justo en lo Mejor de mi Vida” [“Just at Life’s Best Moment”], the fifty something Buenos Aires musician gets to stick around a while after his wife and daughter discover him dead in bed of a heart attack. What they have to say in assessing his life is sometimes petty, sometimes profound – but not quite as complimentary as the decedent may have wished.
Teatro de la Luna has picked the show as the opening production of its 15th season, and it is a good choice. Solid acting, a light touch from the director and a witty script combine for laughs and poignancy in rapid succession.
Life used to be better for Enzo, who once could afford trips to Disneyland for the family, but the downturn in the South American economy has led to a shortfall in his bank account and his resulting grim mood. Finally, following an argument with his wife after his request for Monday-night conjugal relations is rebuffed, Enzo dies in his sleep.
Only, it takes Enzo a while to figure this all out, since he is up and walking around (although the family members pay no notice)
He is aided in the transition to the next life by his musical buddy Piguyi, who drops by for a visit after a 10-year absence, looking nearly the same as he did a decade before (if you’re sharper on the uptake than Enzo, you’ll quickly discern why).
Meanwhile, daughter Yanina is a bit hysterical, wife Verónica is less distraught than you might imagine, and brother Lucho has dropped by to sort the mess out.
As is my wont, I’ll go no further except to say: mayhem ensues.
Turns out there were a few secrets the family was keeping from crabby Enzo, and some pent-up emotions, too. They all come spilling out, with the Enzo and Piguyi looking on, able to communicate only between themselves.
Done in a single act that runs about 90 minutes, this production hits its marks and then skedaddles before wearing out its welcome. Credit Munoz the playwright, J. Paul Lennon (who did the translation) and director Mario Marcel for tip-top timing.
Marcel also stars as Enzo, and his evolving reactions as all the secrets spill out are at times priceless. He is the glue holding the production together, and it’s a good grip he has.
Monalisa Arias and Marycarmen Wila, as Enzo’s daughter and wife, respectively, offer up strong and realistic performances. Arturo Martínez is sufficiently skanky (I mean that as a compliment) in his portrayal of Enzo’s brother, who himself reveals a few secrets as we go along.
Peter Pereyra, who has been on stage a lot in Arlington, both with this troupe and with Washington Shakespeare Company, is sufficiently otherworldly in his portrayal of Piguyi, trying to explain it all to his recently departed bandmate.
Marcel’s direction is adept; he is working with a single set on the intimate Gunston II stage, which is just about the right size for this show.
All the technical aspects of the show were fine.
Although the somewhat wistful and upbeat ending will leave a few cranks disappointed, following as it does modest levels of venom that were spewed during the show, it struck me as effective and a good way to send the audience out into the dark night (or rainy afternoon, as the case may be).
A good start to the new season.