POP MAGICIAN: NOTHING IS IMPOSSIBLE SPECTACLE
Until 12th January 2020. Nothing can be told about a magic show, no trick, no entrance, because if it does, the critic, as in quantum physics, becomes part of the show. So the only acceptable point of view is the analysis of dramaturgy, because Nada es imposible has a dramaturgy, a story that unites numbers to turn it into a round show. I won’t spare myself, however, to say that Antonio Diaz, as a magician, deserves more canonical stars: six, seven. . . He’s not from this world. If nothing is impossible you have a problem with dramaturgy.
The Mago Pop threads the show with the story of his life, a boy who, as a child, in Badia del Vallès, said he wanted to fly and did homemade tricks with ladles while his mother sends him to bed and tells him to forget about Chinese tales. He, however, does not surrender. . . Everything is too emo, in search of the identification of the spectators with children, the spectators who remember childhood, the children whom he instructs about life. He eagerly bites the audience’s heart, but he spits too much. It looks for the easy emotion and, at the same time, emits an ultra-capitalist message, of the American dream, that life is about making money. A lot of money. During the show you see lots of bills. All the time.
All in all, Nada es imposible is a superlative show, with a frenetic rhythm, that keeps us with the wow in our mouth for an hour and a half, that we never want to end. What this man does has no name. And yes, he is a kid from Badia who has become a world star, a self made man who has touched the sky, who walks through it and goes down to the theatre every night to show off his powers. A beast.