The moment has come. It seemed like it would never happen, but sadly Les Luthiers is retiring after 55 years of what is arguably a glorious career (“worthy of the honor and credit,” says the RAE). Having created their own genre, the Argentinian group have brought insightful, unique, white, talented and truly great humor to the lives of several generations of Spanish speakers on both sides of the Atlantic.
Les Luhiers was composed over many years by five musicians, actors and comedians: Daniel Rabinovich, Marcos Mundstock, Carlos Núñez Cortés, Carlos López Puccio and Jorge Maronna. The first two, who formed the backbone of the quintet for their undeniable charisma and interpretive qualities, passed away and the third left the group six years ago, continuing with the last two – Maronna is the only one who stayed from the start – and four new members. , what they call the “2019 cast”.
“Más tropiezos de Mastropiero” was created for them, the first new show in fourteen years by Les Luthiers, which has lately limited itself to making anthologies of their earlier works. The “classics” López Puccio and Maronna were in charge of writing and directing this show entirely “made in Les Luthiers”. It revolves around a television interview with Johann Sebastian Mastropiero, this great discovery and the character around which much of the group’s humor revolves: a composer who has crossed all genres and all eras.
More Stumbling Blocks Than Mastropiero is a very funny show in which Les Luthiers – impeccably dressed in tuxedos, of course – flaunts the weapons that have made them legendary: clever puns (some are unavoidable but laugh nonetheless) and the Ambiguity , the surreal stories, the hilarious characters … Added to this in this show is a number that can be considered very brave in times of extreme political correctness: “Days of Doris (andante con fuoco de shrapnel)” “in which she laugh about inclusive language and other gender issues.
The show salvages a couple of old numbers, “Aria agraria (Conceptual Hum)” and “Pasión Bucólica (Geriatric Waltz)” and composes other equally brilliant and entertaining pieces – notably the dialogues between Johann Sebastian Mastropiero and his distraught interviewer – to deal with a to end A surprising finale that showcases some of the ‘informal instruments’ that form an essential part of its story – it couldn’t be otherwise.
And if Les Luthiers’ humor and ingenuity are to be admired – and in large measure – their musical talent is no less admirable; All six are flexible as well as talented actors and musicians, able to sing and play the piano and saxophone, bass or cello with expertise, and of course “informal instruments” such as the bass pipe a vara, the bass fuentón or the piston organ.
With the farewell to the Les Luthiers stages, Spanish humor loses one of its greatest and most intelligent assets. We will miss you… And thank you very much.
