Photo Credit: unknown

Bruno Giraldi
#Getmeouttahere
Don’t Tell Mama
Feb 17, 2019 – 2 PM

Starting 15 minutes late, and ending less than thirty minutes later, Bruno Giraldi’s recent show #Getmeouttahere packed a lot into its brief time on stage. Almost too much. And yet, not enough.

Giraldi, who is from Argentina, possessed an engaging presence, a pleasingly light tenor, and an accent so thick it became difficult to understand him, particularly when he excitedly told his (mostly) comic stories at breakneck speed. However, when he relaxed into his patter he was quite the charmer. And funny.

Sharing the stage with Jacob Lucheim, sensational, and Adela Bolet, lovable and earnest, Giraldi has fashioned a show ostensibly about the problems one finds as an immigrant in 21stCentury America. Songs like Success (Ahrens & Flaherty, Ragtime, 1998) – stunningly performed by Lucheim –  and Se Dice De Mi (Ivo Pelay & Francisco Canaro, 1943) were used to great effect; others, such as The Rose (Amanda McBroom, 1977), and Hallelujah (Leonard Cohen, 1984) less so.

The show was never quite certain of its tone as it veered wildly from uber serious to surreally comic. And, it often strayed from its central premise, until finally just seeming to abandon it altogether, as Giraldi explored his sexuality, his love life, his politics, and his religious beliefs. It was enough material for several separate shows, yet at barely 30 minutes, the material presented was not explored enough to effectively combine into, let alone sustain, a single evening.

No director was credited; perhaps future engagements would benefit from a stronger guiding hand to help shape the show, pick the material, and keep it on track, although Alan Mendez’s superb musical direction lent terrific support to the performers.