VIDEO - After several cooperative ventures between Mayumana and David Broza, both parties have decided to turn their flirtation into a proper relationship. The relationship got underway at “Bejuntos,” a high quality performance that sets a new standard for Israeli entertainment.
First a confession: In 2000 Mayumana won the Israeli Theater Academy’s special prize for Excellence in Theater Production. The prize was meant to be awarded to original Israeli works, and some people were angry, in my opinion, because the production was based on an idea from the British show “Stomp,” which made a name for itself in New York several years before that, and became the hottest thing in town.
Video: Shiran Valk
10 years after Mayumana’s founding and three productions later, I confess that I was wrong. “Mayumana” is without a doubt one of the best and most original artistic groups around, and its current production proves that once again.
Broza’s collaboration with Mayumana appears to have benefited everyone, especially theatergoers. The skills are key here, and they never cease to surprise. Everyone involved, without exception, manages to maintain a uniform level of talent in music, song, and dance.
“Bejuntos” has many different styles of dance and music, from romances and flamenco to rap, samba, reggae, and belly dancing. Once again, almost every item that comes onto the stage turns into a musical instrument at some point.
Broza’s songs, interspersed throughout the performance, are a revelation, thanks to new arrangements influenced by Boaz Berman and Eylon Nuphar, percussionists and founders of Mayumana.
As a result of this interaction, songs from Broza’s excellent new album, “Parking Completo,” become fresh and totally different from the versions on the album. There are some moments that are too busy, as in “Me Voy,” which turns into a noisy conconction of sound, and yet there are tremendous performances of songs such as “El Flor de Masada” and “Sounds of the Flute,” which are eclectic and refreshing.
Over the years entertainment has been seen in Israel as dissolute, as preferring the vulgar to the esthetic. “Bejuntos” proves that entertainment and quality are not necessarily contradictions in terms, and that total art does not contradict popular art. Don’t miss it.