Edinburgh International Theatre Festival 2018
Slipstick" A MASTERPIECE" Broadway Baby
By Frodo Allan 17th Aug 2018 ★★★★★
A man enters and, La Cage Aux Folles style, he sits at a mirror that isn’t there and paints his face in lurid make-up. He then launches into an inventive and entertaining hour of drag slapstick impersonations and sketches that justify Martin Kent’s billing as ‘The Master of Mime’.
Slipstick is much like the Mona Lisa; a beautiful enigma and it’s definitely a masterpiece.
It’s all very frantic and the quick-changes are sometimes as impressive as the energy on stage. Kent goes from a glittering circus barker clown to a half man/half woman routine in scant seconds. A ballet dancer with too many legs appears before the Mona Lisa shows just how fed up one can get with being photographed constantly. Some of the sketches are completely original and hilarious. We see a giant baby with a ludicrously long penis use a potty, a diva with a voice that could crack glass (in a bad way), and even a few group numbers through inventive use of puppetry.
The costumes are spectacular and the humour isn’t exactly high-brow but it’s a demented and delightful bit of anti-drag entertainment that has the audience roaring. One impersonation sees Kent onstage as Lucille Ball in her famous ‘Vitameatavegemin’ routine. It’s perfectly lip-synched and almost as funny as when the comedy legend performed it herself. One costume change sees Kent become a giant vagina and engage in some brilliant audience participation. It’s cheeky rather than raunchy but parents should be aware that it might not be suitable for the younger kids or anyone not so keen on a bit of light-hearted toilet humour.
Martin Kent has incredible enthusiasm onstage and knows how to carry each of these sketches forward. The momentum never lets up. Some of the skits are funnier than others and a couple are classic drag lip-synching with some physical comedy but that’s no bad thing. Kent is an exceptional performer and you can’t help being dragged along with his onstage silliness. Slipstick is much like the Mona Lisa; a beautiful enigma and it’s definitely a masterpiece.
Critica Internacional / International Press.
"A GREAT IMPERSONATOR"/ "UN GRAN TRANSFORMISTA"
(Moira Soto, La Nación 30/11/2013) *****
one was once upon a time ,not so long ago, a great Italian impersonator , mime, singer in several records, who could do dozens of characters in his shows: Leopoldo Fregoli (1867-1939). So much was his fame that in Spain there is the saying "faster than Fregoli", and in France, the expression frégolisme designates the swiftness to change suit or idea. At the moment, that demanding art of unfolding in many successive roles - including the corresponding changes of costumes - has 2 officiants in the world among them the, Italian Arturo Brachetti and, of course, the Argentinean based in Spain Martin Kent (who does not sing, but Does fonometry and dances, among other creative contributions.
In Slipstick, for little more than an hour and a half, often without the transitions being noticed, freaks of circus, recognizable characters of the cinema and the music, dance, painting and the opera, plus some invention of the Kent himself, quite risquée but without falling into the easy chabacanería. Thus, the very accepted show integrates a ridiculously gay Hitler (from Mel Brooks' producers) and Martinova, the classic dancer somewhat fanee; To the Regan of El e xorcist with his bed on his back, giving unexpected turns to his possessed creature; To Amy-Winehouse- singing and drugging herself with everything, and a fantastic six-legged dancer? In all cases, with great display of clothes, wigs, shoes of good design, accompanied by functional scenographic objects that contribute to modify and frame the space. In addition, in some paintings, projections and special light effects are added.
But the makeup of the face - white background, black underlined for eyes, lipstick for lips and cheek -, vaguely inspired by kabuki, is always the same, barely with a slight touch. Kent does it in great strokes at the beginning of the show, in front of an imaginary mirror facing the audience, in few minutes. And it's amazing how that mask fits characters of all ages and very different condition. Theatrical convention is launched and does not stop, appealing even to a certain form of illusionism, resources of outrageous comedy, renegade humor and also the pure homage that leaves out the caricature, as is the case of the very successful interpretation Of "Non, je ne regrette rien", recreating the lean silhouette and attitude of Edith Piaf.
Among the many successes, it is worth remarking two sketches of collection for the visual and sonic impact, the quantity and quality of the gags, and the way to enliven the collective unconscious of the public: the one that stars Rose in the bow of the Titanic, and the one of King Kong, first with the entrance of the great gorilla down the hallway of the room and then his performance on stage, through the huge head of the animal in the background and his huge hand in the foreground, retaining the heroine blonde who treats ostentatiously Of run away.
Martín Kent, el argentino radicado en España foto: LA NACION
This music hall by Martin Kent really is excellent ... The mastery of an artist with a lot of sensitivity and energy.
The stage is a large mirror that masks to transform into many more beings than an existence or two can endure ...
It is hard to highlight some of the characters that this artist plays with a wonderful work of play back and some interesting systems to, for example, manage to transform himself into a female trio that sings and dances (Andrews sisters think), dressed in uniform. A mechanism not easy to handle I must say. In another style we see a transformation from a mimic of Tina Turner to Amy Winehouse of a great finesse in the use of the gesture.
Great productions like King Kong, with a strange appearance of the song Touch Me that Susan Sarandon sings with finite voice in the film The Rocky Horror Show ...
From issues full of innocence to rogues or decidedly rises, modulating intensities at a very well-managed pace, this excellent artist is played at every step.
Spectacular works of scenery and appliances, even the most simple systems ....
After so much mischief, so much simplicity, so much raised tone ... we discover what the mask allows. It allows us to see a sensitive and charming soul.
There are very few functions left, today, tomorrow and Saturday ... It really pays off among all the things that flood the end of the year.
María Inés Senabre
The Slipstick Family - press info
Espectaculos Alamod por María Inés Senabre. *****
PHOTO.The Real Martin Kent at the Theatre Margarita XIRGU
"Slipstick" with Martin Kent
The Argentine-Spanish actor-convert who has surprised and made Europe laugh for years, will do a season of 12 performances at the Teatro Margarita Xirgu
The last madness of the Argentine-Spanish comic actor Martin Kent arrives in Buenos Aires. And it releases directly from Europe its last show SLIPSTICK, which is something like lipstick and exaggeration, and is the first time it is represented in our country. The spectator is witness when entering the theater of how is the preparation of an actor in the solitude of the dressing room, unique moment that only belongs to the actor and the mirror, imaginary mirror, in this case, since Martin is the only actor in the world Which is made without mirror in the record time of 3.50 minutes. SLIPSTICK is a hilarious parody full of humor and talent, a tribute to the classics of the classics, and from its illusionist galley draws mythical figures such as Rose from the Titanic, Martina Tarner, Burriquito, an almost real Freddy Mercury, Frankenstein's boyfriend! To a very, very bizarre Elvis, the mythical Dorothy of the Wizard of Oz, who here is a very bad girl, and several real dolls, made in the image and likeness of the actor, who come to confuse moments of truth of latex . And thousands of surprises that the comic boss manages with an art, a speed never seen in the scenes of this country, and a ninja subtlety, as it slides through the scenes at the speed of light, SLIPSTICK is a one-man, comic Musical, which has been represented in scenes of Europe for more than 25 years, in Ibiza and England, in its beginnings and now especially in the Mediterranean coast, in the most popular tourist center of the whole continent, Benidorm, something like La Perla de Mar Of the Silver, but in Spanish version.
The Extraordinary actor Martin Kent, premiered at the Teatro Margarita Xirgu "Slipstick".
With characters of his creation such as King Kong, Betty Boop, the Titanic among hundreds.
With a background screen that transported us to him he took us with laughter and applause to but not being able and entertaining the public without giving any respite.
An incredible display with an imagination and creativity rarely seen.
Really highly recommended and deserving of the best theaters in Argentina for its amazing ability.
My Congratulations to Martin Kent!
From Friday, January 20
Comes from Europe to Margarita Xirgu
Every Friday and Saturday at 10:30 p.m.
Chronicle Mirta and Carlos
The Argentine-Spanish actor Martín Kent, carries forward in the theater Margarita Xirgu, his one-man Slipstick. The plot and its type of humor are combined to seduce a wide audience. First it shows the backstage and then the comedy tone begins to feel. With a rhythm that advances like hook to catch the spectators.
It is possible to emphasize in this work the marathon 90 minutes that Martin Kent has up of the stage with the 20 more personages that interprets. A musical where personalities recognized within its facets are combined in film, music and even in painting. The actor with his wonderful interpretive role can break the language barrier. The elements of prop, besides finishing composing the scenes, manage to surprise in each one of them, like for example with diverse dolls of real size. The characterization of each character, both in costumes and wigs, perfectly accompany each of the scenes. The musicalization and the projections are the fundamental support throughout the course of the work.
It can be said that Slipstick is a flawless international show that, in addition to making Europe laugh, manages to transport the public on a journey that is overflowing with talent.
Escena de King Kong foto BUTACA TEATRAL
Humor is a genre very difficult to interpret, both for the comedian and for the viewer, since it is indispensable a feedback from both parties to achieve the expected success. Undoubtedly, this feedback, is what has maintained for 25 years on the stages of various parts of the world the comic actor Argentine-Spanish Martin Kent.
We can see, in the "SLIPSTICK" show, its acting ductility, since it can be introduced in the skin of several characters, almost simultaneously, thanks to the rapidity of its changes of dress and the lucidity of its mimicry.
As soon as the light of the room is turned off, the stage remains in shadow with elements that form part of the dressing rooms, appearing the protagonist in front of an imaginary mirror, surrounded by lights, where he begins to make up with a white base, false eyelashes and a Lipstick very red, to become a histrionic artist willing to dedicate an outstanding performance.
Then, a variety of international stars, mostly known, are displayed before our eyes, imitating them with a special touch given by the creativity and magic of someone with a lot of charisma and experience.
The frame is given by powerful songs, many of them very popular and applauded in all times, by powerful lights that accompany each movement and by a giant screen on the background of the stage whose content serves as the thread of the show.
It emphasizes the quality and design of the scenery, the variety of the costumes, and above all, the coordination of all the audiovisual elements on stage, with a celerity worth seeing.
The contact with the public, is present and is very important to value the whole of this new humorous genre called slapstick, a mixture of laughs, caricatures, surprises, and delirium, but also allowing to perceive the sensitivity of the human being exposing it to the orchestra.
The end was very emotional, because while we were removing makeup, we saw and felt the love that Martin Kent has for his profession, evoking a very moving song leaves us with a feeling of gratitude to a heart overflowing with passion for what it does.