The triumphant return of "Dying of Love" and the mystery of "Who Killed Palomino Molero?" in the Peruvian theater scene.

Making comedy is no easy task. And if you add the musical element to it, the task becomes even more complex. But somehow, the play "Dying of Love," written by Marisol Palacios and Alfonso Santisteban, works. This is due to the experience of the team behind it (the producers), but also to the reflection offered by the years that have passed since the original premiere. The play was launched in 2006, had a final re-staging in 2008, and sixteen years later, it has returned with a new cast and some changes in the script, but with the same desire for the audience to observe love in all its facets. "Dying of Love" follows the story of three couples: Rafo (César Ritter) and Cris (Carolina Cano), who celebrate their seven-year anniversary with a dinner; Fernández (Gabriel Iglesias) and Ina (Patricia Barreto), who are going through a rough patch in their relationship; and Felipe (Andrés Salas) and Anaté (Gisela Ponce de León), who are just getting to know each other. Marisol Palacios, the director, mentioned that it was recommended for the chosen actors to know how to sing, but above all, they had to handle comedy; all six of them have experience in that. Selecting them was like playing matchmaker; following their instincts and thinking about which actors could have more chemistry as a couple. Surprises emerged, such as the connection between Ritter and Cano on stage, who developed a whole language of complicity. The director recalls how the play originated in 2006. "It was written because they found a tumor in my lung. And my friends told me, 'stop writing tragedies and let's start making comedies.' And I said, 'comedies, I'm dying! Musicals? Ugh!' (laughs) and Katia (Condos), who is my close friend, said, 'let's do something about love, we have an idea with Norma (Martínez).' They wanted to make fun of love with romantic songs. And they convinced me," Palacios recounts, highlighting that the play does not pause to make way for musical numbers. These are integrated into the script. For example, Salas' character sings "En carne viva" by Raphael to express that he does not want to be reminded of his ex, as the wound, the heart, is raw. Speaking of music, the play features a generous compilation of songs from the new wave, a trend that has followers from several generations. Why is this music so popular? The director attributes it to a sensitive fiber that we all have but do not usually show, and that these songs precisely allow us to be more in touch with our feelings. "It allows you to cry, so to speak, or to suffer or break down or remember that impossible love." What has changed in the play compared to 2006? Technology. Now smartphones are used more than landlines, so the presence of the corded phone on stage had to be justified. Nevertheless, the play carries the essence of the time in which it was created: the characters in the restaging do not text each other because in 2006 it was more complicated to do so with SMS, lacking Messenger or WhatsApp. There are also enough changes in the set design to reflect the current era without necessarily changing everything. Why did it take so long for this play to return? Palacios mentions that there were attempts to restage it, but things did not come together in the end. The desire was there, but life got in the way. The director herself stepped away from the stage for a while. But now she is back with her direct, hyperbolic proposal on love and feelings. It is a way of "fighting for life," the author concludes. The play invites us to laugh, be moved, and reflect on the different ways love presents itself in our lives. It is a show that combines music, humor, and emotion to create a unique theatrical experience. In another significant theatrical event, the suspense novel "Who Killed Palomino Molero?" by renowned author Mario Vargas Llosa comes to the Marsano Theater to delight literature and theater lovers. This theatrical adaptation promises to keep the audience on edge with its intriguing plot and well-developed characters. The arrival of this play on stage is an unmissable opportunity to enjoy the talent of the actors and the stage direction, which will surely transport us to the mysterious world created by Vargas Llosa in his literary work. In summary, the theatrical world in Peru is in full swing with the return of "Dying of Love" and the arrival of "Who Killed Palomino Molero?" at the Marsano Theater. Both productions promise to provide moments of fun, excitement, and intrigue to the audience, reaffirming once again the talent and creativity present in the Peruvian theatrical scene. These works are a testament to the cultural and artistic value experienced on stage, inviting us to immerse ourselves in captivating stories and explore the different facets of love and suspense through theatrical art.