Halfway between a monologue and a recital, David PaloMar explores his dramatic vision to stage Helpless, a show with which he presented himself at the Teatro Cervantes from Malaga on Thursday, April 24. With an austere staging, where only light is used, the occasional audiovisuals of Calde Ramírez, and the naked and masterful guitar of Oscar LagoDavid is unfolding his speech.
It's a denunciation of modern times, in which the old, to which we attribute the quality of authenticity, has been banished to make way for the new, but not better. Thus, it speaks to us of lost neighborhoods, replaced by concrete blocks, of small shops razed to the ground by shopping malls and powerful multinationals, pushing Malagan winks –not even the biznagas smell anymore–, talking about cheap clothes that don't last long and meals that are hard to savor. Until we get to, of course, the legendary singers of Cádiz, whom he recalls in a fit of nostalgia, according to the script, but who are the perfect excuse to interject cantethere are imitations where PaloThe sea demonstrates its chameleon-like ability.
It is curious how, in his comparisons of the old with the new, in relation to the flamenco, just remember, but it is implied that the current, by the same rule of three that he uses for buildings, shops or clothes, It does not have the authenticity of those mythical artists to whom it evokes.
"The intention here is to show us the interpretive side of the Cadiz native, which we've often sensed throughout his career, using his flamenco talents to serve his performance. And he does it quite well."
But let's go to the canteWith a surprising vocal ability, which overcomes without apparent problem the difficulty that it has speak, recite and sing without interruption, begins with tonás, palo ancestral if there ever was one, and then he gives us some Macandé fandangos, quite correct considering the demands of this style and, of course, also his proclamation of the sweets. He goes on to name various singers and characters from the Cadiz imaginary, jotting down lyrics, until he breaks into a soleá, remembering Aurelio 'On street corners you start saying that you don't love me., although later he flirts with Triana and Utrera, where his abilities may perhaps shine better.
He stops to praise the great Manolo Vargas, and gives us a masterful imitation of the incomparable Beni from Cadiz, as well as the Cadiz bojiga with his grace and his hoarseness. He writes down the fandango of the Sabina, like this, singing, and after naming the Pearl, sing for joys, saying well the cante, playing with the times and the rhythm. The seguiriya of Paco the Light, complaining with pellizco, and the song por bulerías, with a message of resignation, leads us to the end of the work in a sort of apocalypse to the beat of the Lacrimosa of the Requiem de Mozart.
On the whole, Helpless It is a work that fulfills its purpose, well woven and coherent with its message, a message that is, unfortunately, current both in Cadiz and here in Malaga and in many other cities, where Raising the flag of progress is confused with destroying everything from the past that identifies us.. Being Palosea singer, the cante It couldn't be missed, but it falls a bit short, because the intention here is to show us the Cádiz native's interpretive side, which we've often sensed throughout his career, but which he truly exploits in this show, using his flamenco talents to his performance. And he does it quite well.
Technical sheet
Helpless, from David PaloMar
Cycle Flamenco you will be it
Cervantes Theatre, Malaga
April 24th 2025
CanteDavid PaloMar
Guitar: Oscar Lago
