This is the clandestine party of Wah!: From Tim Burton to Broadway, Las Vegas or the Use of Ibiza

Abran la coctelera. Metan dentro del Mercado de San Miguel diseñado por Tim Burton, un espectáculo de un casino de Las Vegas, un musical de Broadway y el Ushuaïa de Ibiza. Añadan una pizca de glamour, otra de sorpresa y, por último, un ingrediente prohibido. Agiten bien y ... ¡voilá! Bienvenidos a Wah! El espectáculo enmascarado bajo esa descripción y que algunos ya han tildado como el Circo del Sol de la música acaba de abrir sus puertas oficialmente. EL MUNDO ha logrado colarse en una de las funciones previas al estreno, esas en las que la prueba y error aún está permitida pero donde la exigencia abunda.

Incentrate in this clandestine world, the last redoubt of the music that remains on the planet after the leader of the Omega nation -the totalitarian Doctor Mute -has prohibited it, impacts from the threshold.From outside, no one is able to guess what the IFEMA pavilion hides where this show has been mounted, the work of the Music producer has not limits.

We arrive three hours before the function and and to come and go of the staff is constant to tune the first act of the three that form the show, which takes place in a multicolored market (the Food Hall) where one can dinner ortake a cocktail between provocative actions...or buy an 8 battery.000 euros under a particular Sistine Chapel.And all the sound of music.

Aún falta para que llegue el público, pero los camareros comienzan a preparar algunas de las delicatessen del recorrido gastronómico por el mundo que ofrece ¡Wah! Paseamos a solas entre una puerta sagrada japonesas y un confesionario antiquísimo en la zona de Asia; entre guitarras eléctricas que cuelgan cual Museo del Jamón en Rock & Pork, el espacio más ¿castizo?; entre los pequeños pecados en forma de dulce que aguardan en La Catedral , un lugar irreverente plagado de imponentes columnas y lámparas de araña; entre las mesas de un restaurante italiano; y entre un cielo de banderines y una gigantesca Katrina (un ninot creado por falleros valencianos) que nos lleva hasta México con sólo dar unos pasos.

"It is not a restoration zone to use, we are part of the show.This is an experience in the five senses, "explains Guillermo García, the director of this space, who comes and controls his team (about 60 people among Barmans, butlers and chefs)."Music is a universal language and gastronomy too.We interpret it here.In addition, all our waiters have some musical virtue, "he adds, suggesting that when the lights are felt, perhaps a cook surprises us playing a kitchen battery or dancing on the bar.

Which intruder we feel when crossing the red lines, impassable for all that alien to the show, which give to that great theater where the central part of Wah will take place!"Here you can see the Supershow, a tour of music through all genres, interpreted as never before and where you can hear an aria of Puccini performed by a soprano that suddenly derives on an electric guitar, or a black voice thatDegenera in David Guetta, "says the Director of Communication, José Domingo."That performance of Freddie Mercury and Caballé in the Olympics here is a lot," adds one of Mandamás del Show.

It is still early and there is only activity in this area, only some technicians testing that the dazzling 300 square meter LED screen that Eyeberg has created (a company that has worked for Fura, Berlin Opera or Spring Sound) perfection.

"We have created a new genre that was not in Europe.It is a Las Vegas show but with a much more powerful gastronomic component and there is no.It's more sophisticated, "adds Sunday."The idea is to generate a license and export the complete concept to other countries" because wah!, Like the circus of the sun, it has an advantage: that language is music and it is universal."You can enjoy a Chinese or a Russian without knowing Spanish," he adds on the show, which has the Madrid and IFEMA City Council as partners and is open to all audiences."Here a family can come to spend 20 euros per person or a group of friends who want to set up a party and spend 10.000 euros based on Dom Pérignon and Tequilas of 500 euros ", adds.

Over there, observing an essay of the struggle between music supporters (the Wah) and their detractors (the Omega) we encounter the architect, the father, of this show, Miguel Deparamo, an artist and producer who has been experiencing yearsWith the merger of genres."I wanted to create a show that was not only a musical show, but also had a story behind in addition to a gastronomic experience.I have traveled to many places in the world and I have never seen this.It is a celebration of the music to the beast, "he says in the voice thread that he has left after a few frantic days.

A few meters from there, after an entertaining, dark and labyrinthine hall, the bustle sprouted that we were already missing.We are in the heart of the show, in the backstage, a place where so far no journalist has managed to sneak.Musical singers of El Rey León or Billy Elliot, sopranos and tenors who have worked in the best operas, voice winners, street musicians, artists who have played with Sting, Eurovision vocal coach and cinema people intermingle with seamstresses, makeup artists, hairdressers and half dozen directors of the show.

Between bambalins we hunt the designer and costume director, who hurries the last touch -ups to the jacket shoulder pads that will wear the DJ in the last act."They have looked bad at me when I broke some headphones to place them here!" Says Jordi Dalmau just a minute after the team has surprised him with a batucada as a congratulation birthday.

Together with donkeys loaded with clothing, some details of the costume breaker that has created for this show, full of wings (its hallmark), feathers, silk tules, leather, cup hats, sequins or chains."Everything is very crazy.There are a lot of hand -painted clothes and the pattern that musicians wear is one that we have rescued from Napoleon, from those who wearing in the war, which has the rounded elbow so that it could load the weapons (and the musicians the instruments) ".Oh really?"Yes, in the end this is a war between those who want music and those who do not," says the creative one, whose designs have stepped on the Oscars.

On the other side of the hall, Elvira García, the director of characterization (has worked at the opera and also in the cable girls), and her entourage of makeup artists and hairdressers are hurried to transform a team of 130 people, because here even thewaiters and hostesses are part of the show."In the first pass I lost two kilos, but we are already taking the times," he says between metal and squeaky vanes and the silicone prostheses that give artists a futuristic touch.

An hour to go on stage, the room is a hotbed.The wigs and the false eyelashes fly from hand to hand, the aircrafts do not stop giving ink and the tenacles and the curlers shape the most extravagant hairstyles.

Garcia tells us while fixing the hair to María Ayo, one of the great voices (former King León), that his main mission is "to help enter the character" to the artists, but also much more."We take care of them here, we listen to them and take them up.In makeup we are the psychiatrists, "he says, next to him, Aitziber puts forks as flags to hold the crest to Álex Rodríguez, the cellist."You don't see how it moves,".But if the cello touches? We ask incredulous, even without understanding what is coming.

The arrival of Rolita (former voice) does not go unnoticed."Didn't you remain yesterday with any chati?" He asks a partner, who goes to step as he can.There is tension because the minutes are exhausted, but the good atmosphere is palpated."Here we are like a family.When we leave we go beers.Some have even rolled up ".Yeah?"Of course, and those who remain," says the singer with self -confidence.

It's 20.00 hours and the doors of Wah!open.Zancudos dances, golden butterflies, saber fights and acrobatics happen in the first act while in the backstage the main artists expect their particular countdown."Uuuuhhhhh, ahhhhh," can be listened to the halls.

Behind the big screen, María Ayo reviews and refines the voice, sheltered in her helmets.Violinist Alicia Nuhro awaits her restless moment with her instrument in her hands - "I want to leave," he says without stopping to smile-.The dancers listen to the indications of the choreographer and stretch their muscles.And Irene Alman, who carries the direction of voices, gives last minute instructions to another of the singers, Noemí Gallego."Each looks for their concentration routine," explains Luis Morate, the musical director and guitarist shortly before giving the final speech to the team next to Delparamo.

Minutes later, "Waaaaahhhh!"It is heard from the seats.And the magic is done.

When the farewell arrives, Food Hall has become an authentic club in Ibiza.Another lighting, another music and a DJ crowning from heaven by imposing penance on the parishmen at midnight edge between belly dances and champagne.