Dancers: Gloria & Eduardo, Norma & Luis Pereyra, Carlos Borquez & Ines, Carlos & Alicia, Sandor & Miriam.
Singers: Carlos Morel, Sandra Cabal
With virtually no star power (at least by U.S. standards) and examining a fairly arcane art form, “Forever Tango” would seem destined for a short local run. But vet L.A. impresario James A. Doolittle has recently signed on as co-producer, and “Forever Tango” has been held over an additional two weeks. These dancers have legs.
Exec produced by Hugo J. Bandi, 1994’s “Forever Tango: the Eternal Dance” is the third in a series that includes “Tango Argentina” (this show’s artistic director, Luis Bravo, played cello in the orchestra) and 1990’s “Forever Tango” (which Bravo co-produced with sports promoter Bandi) and includes alumni of both earlier shows.
Tango is the dance closely associated with Argentina, moving from that country’s saloons to Parisian salons in the earlier part of this century and responsible — from the look of this show’s male cast members’ shiny coifs — for the bulk of pomade sales during the last 50 years or so.
Running just two hours, including intermission, the current production is an otherwise nonstop parade of singers and dancers, backed by an impressive orchestra, prominently featuring four accordion-like bandoneons in addition to violins, bass and two keyboards.
Several styles of tango are covered, from elegant to athletic, with veterans Gloria & Eduaro earning the greatest audience response with their classical version of the dance.
Set and costumes are simple and elegant, mostly in shades of black, white and silver. When another color appears, even a relatively muted rose or blue, it stands out dramatically.