Lamenting the Lament
Dulcinea's Lament closes tonight, after running for one week at the DBClarke Theatre at Concordia University. The play – actually, it's better to call it a multimedia show – is an attempt to give voice to Don Quixote's muse, Dulcinea del Toboso, by the homonym Dulcinea Langfelder.
Langfelder - actor, singer, writer, dancer - originally from Brooklyn, NYC, has been touring the world for 10 years with another show of hers, Victoria. In her newest creation, her talents are all put to work fullforce. Excellent performer, Langfelder gracefully leads us with her movements, voice and wit through the mélange that is Dulcinea's Lament.
The show is a patchwork of several contemporary and ancient references, framed by the projection of psychedelic images and Broadway style songs. The looks are flawless, the meaning not so much. The abundance of material covered by the work is such that it does not allow for a deeper exploration in only 1h30min of performance.
Female deities are given voice in the show, however, never really having their meaning explored to the fullest. The attacks of 9/11 are briefly mentioned, but seem out of context and misplaced in a show that, until then, had seem to be going down the femininity/feminism route.
It is a effective spectacle if considered through the biographical lens, though. Once one understands the show is about Dulcinea LANGFELDER, not so much about Dulcinea DEL TOBOSO, all comes clear. And then even the bare boobies make sense.
Langfelder - actor, singer, writer, dancer - originally from Brooklyn, NYC, has been touring the world for 10 years with another show of hers, Victoria. In her newest creation, her talents are all put to work fullforce. Excellent performer, Langfelder gracefully leads us with her movements, voice and wit through the mélange that is Dulcinea's Lament.
The show is a patchwork of several contemporary and ancient references, framed by the projection of psychedelic images and Broadway style songs. The looks are flawless, the meaning not so much. The abundance of material covered by the work is such that it does not allow for a deeper exploration in only 1h30min of performance.
Female deities are given voice in the show, however, never really having their meaning explored to the fullest. The attacks of 9/11 are briefly mentioned, but seem out of context and misplaced in a show that, until then, had seem to be going down the femininity/feminism route.
It is a effective spectacle if considered through the biographical lens, though. Once one understands the show is about Dulcinea LANGFELDER, not so much about Dulcinea DEL TOBOSO, all comes clear. And then even the bare boobies make sense.
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