Contenidos
The song talks about infidelity. It tells the story of a couple involved in monotony and boredom, neglect and lack of attention to each other, and the imperative need to fill that emotional void and go out in search of new sensations. The song ends tragically. The three crosses refer to the infraganti betrayal that Mario suffers at the hands of his wife Maria, the first stake that is nailed in the forehead, Maria fits it for that reason she says the one that hurt the most, the second one is the one that causes the death of that one, by another thrust in the chest at the hands of the lover, and the lie of the wife, indicating that he died when he was assaulted by two drug addicts.
The cover of the single “Cruz de navajas” follows the minimalist aesthetics of the first single published from “Entre el cielo y el suelo”: bichromatic cover in sepia and black tones. It is an edited photograph of Ana Torroja where she is almost half bust, wearing leather clothes. The photo was placed at a slanted angle from the bottom to the top. Ana appears on the left side of the cover of the single in a body position leaning to the right is an optical effect of the photo.
razor cross meaning
There are many elements to take into account. That is why this show has a large machinery and human resources, both behind and on stage, to bring to the stage every night the best show.
Now, with Cruz de Navajas, he faces what is probably his biggest project to date. Of course, some data are very revealing when it comes to qualify this show as a big production: 6 trailers of material with 330 lights, 120 audio channels, 2 tables, 40,000 watts of sound and 30 Meyer boxes.
Tickets for Cruz de Navajas are on sale through the usual sales channels: www.teatroarriaga.eus and the theater box office. Prices range from 24 to 55 euros, and as usual there are numerous discounts and spectator days with reduced prices.
Next Wednesday, May 5, Cruz de Navajas Mecano Musical Experience, the first great musical and audiovisual show to premiere in Madrid after the pandemic. It will take place in the marquee of the Teatro Espacio Raro at IFEMA, a space capable of hosting a show of great magnitude, with unprecedented technology and staging. This tribute to the group Mecano brings to the stage their greatest hits and resumes the cultural activity with responsibility and adapted to the new normality.
We may not see Nacho, José María or Ana Torroja on stage, but we could not help noticing that in the performance we were lucky enough to witness, a Freddy Mercury danced. About this, we were told that the show will feature iconic characters from the 80’s, but apart from the spoiler of the Queen singer, who else we will see is still a mystery because they want to keep the surprise and expectation.
Eduardo Moreno, set designer and technical director, says that “the setting was without limits, it was a clear commitment to the technological part and we have focused the concept of space in the audiovisual and lighting, of course with a spectacular sound support. The idea and the challenge was to generate a device that would allow us to approach these 25 different universes to the farthest limit.
En los años 80, Mecano se convirtió en un grupo de gran éxito e influencia en España y en muchos otros países de habla hispana. Aunque la banda se separó en septiembre de 1992, sus canciones siguieron siendo muy populares. Esta fue una de las razones por las que Ángel Suarez, tras ver el éxito que tienen los musicales de Broadway en Madrid, imaginó el primer musical producido íntegramente en España con canciones de Mecano. Junto a Nacho Cano y José Manuel Lorenzo, desarrollaron una historia, escrita por David Serrano, en torno a las letras que popularizó la banda.
El musical es una obra interactiva en la que se anima al público a bailar y cantar en todas las piezas musicales, especialmente en el último popurrí. La cuarta pared se rompe muchas veces indicando que los eventos que se muestran son un musical, mostrando a los miembros del equipo e interactuando con el público (los actores bajan del escenario y bailan, cantan e incluso colocan pelucas y trajes a los miembros del público). Una gran pantalla en el escenario muestra imágenes en directo del público, de los actores, de la orquesta, junto con otros vídeos pregrabados, que al final se convierten en parte importante de la obra. Además, en una escena, los personajes discuten la trama y su actuación en la obra.
