In theatre dance field, there is not much to do nowadays; in order to achieve a surprise that not always is categorical, the experimentation has become a black hole that swallows every piece of dramatic classicism. Perhaps, for that reason, the public frequently thanks humble and well told stories. It is not because they do not want to think, but because, before that, they want to understand.

Vida examines not a casual simple exhibition. The creational ill of Lizt Alfonso, up to the point which is possible to capture, ometimes needs the lineal, the impeccable to, this way, mix ith the proverbial fusion of dance stiles, no matter which one
highlights. This time the trick was on a possible story: the brief ransit and sense of a woman about the history of a nation. The nalienable plurality of rhythms in Cuba is used as the centre rom where starts the lines draw by the choreographic
willingness of Alonso. The proposal of the script, a bit naïve if ou want, reaches a higher step in the combination of pparently different genres - rumba, twist, bolero and so on - servicing a visual display that wants, above everything else, to
document this kind of visit to History from the artistic culture.

To all this we would have to add the good taste of the dancing cenes and the sobriety of design - even the monumental set esign - because this is a kind of show that moves forward all he time, moving around the dangerous abyss of the
grandiloquence and from there to the excess, as it is known, here is not a big distance.
To talk about the design, for example, would give us a treaty. verything flows in Vida with temperance and stage sense, rom such a beautiful solutions as the one achieved in the ressing - lets remembers the moment of the spiritual waking
up of the star - until the plastic recreations, showed through a remendous, but calculated light distribution.
But the group would not achieve anything without the inquestionable quality of its musicians, and dancers. The arrangements of Denis Peralta to classic theme from the traditional and more contemporary repertoire, as well as the incredible intervention of X Alfonso and his anthropological projection of music, are some of the best can be kept in memory. The performances of Omara Portuondo and Ele
Valdes, each one from a singular and vigorous register, gave the distinctive note to a product made to please from every point of view. The dancers, who danced for almost two hours with an incredible corporal versatility, were also part of this
goal.


(Cubarte)