THE FEAR OF THE BRAVE
"The fear has not disappeared, is still there, alive and well." As soon as Mario Vargas Llosa had said this phrase with a mischievous smile but incipient laughter erupted. I would not want to confuse them. It was not a new cry about the likely outcome of the election, they were whispering with clear nervousness about the present, it was just a brief introduction to the most recent incursion by Mario Vargas Llosa in the theater, representing the "Thousand and One Nights."
The place was ZUM Auditorium at the University of Lima, and it was nearly 8:30 pm, when a timely too Peruvian initiating the long-awaited feature. The long preamble allowed me to observe the three screens arranged in the auditorium, two on each side and one on stage. All had on a brown background the title of the work with relatives lyrics with arabesque. While the music of "Yanni at the Acropolis" made us wait more bearable, I realized that the public had not even half filled the auditorium at 8 pm, estimated time of the function. Apparently the long tail that only democratized all seats had delayed the entry, or just the public who had come by car to the University of Lima did very late. Either way, the brief program notes did not suggest anything that would happen, but could not keep my attention the contrast between the austerity of that owner compared to the exuberance that the theme of the play suggests. In any case, the photo was beautiful Vanessa Saba suggestive everything one would expect.
The stage was set for fancy arabesque: a large gold-framed mirror, orange and purple lights that fell languidly on good places to hide the stage of the sparse furnishings and ushers who fought for guidance to confused viewers who have their seats were not numbered.
To my ears could hear the complaints of the ladies A and B, so their social class, which briefly after your trip to Disneyland would not stop to mention starring the latest jokes popular candidate Ollanta Humala feared their blackberry. "Ollanta loves you" seems to be the spam message of the night and were just 8 and 15 when the first call rang.
After several miles of forked tongues unrolled, the function began after several young concubines after Mario Vargas Llosa from the right and Vanessa Saba from the left to appear at the center stage to the applause of rigor. Because
applause was de rigueur, not the public mind, ready to be part of the mischief of the writer who, far from pretending to be a lover of theater autumn, invited to immerse themselves in the fantasy of the best known work of fiction oral and popular in the world not limited to Sinbad or Aladdin, but a larger story, "a gruesome and ferocious history" that is its connecting thread: that of Scheherazade who redeemed the tormented King Sharigar.
My opinion is that the text of Mario Vargas Llosa is strongly persuasive, thanks to the chosen stories, each with more intrigue than the other, Scheherazade could remove every morning executioner's scimitar while Vanessa Saba away the fatigue spectators. She became the ideal partner of the protagonist reporter Mario Vargas Llosa who, aware of the difficulties of acting, offered no changes in its narrative voice rather than a few times when I needed staging.
would be unfair to criticize the work for lack of experience of the writer protagonist. Everyone knew that Mario Vargas Llosa does not offer many dramatic records, therefore, that premise was easier to enjoy the suggestive series of frames that had Scheherazade and King. And if the beautiful won the king, in my opinion, the spell work for two hours the audience that accompanied the characters and their narrators without having a magic carpet. 
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