Theaters face a key season, in which, even with the virus among us, we aspire to a normalcy without shocks. For the back to schoolIn fact, some montages that were left in limbo due to viral attacks are recovered. This is the case of large international productions such as Joy by Pippo Delbono and Just Call me God by John Malkovich at the Canal Theaters. In Barcelona, where they had more interruptions than in Madrid, truncated projects are also resumed, such as the adaptation of Naked eva by Pau Miró. Empty Spain, the corrupt side of Mexico, our war of ’36, the origin of evil and a boxing world champion on the tables will be some of the claims to sit in the armchair.
Relief or Cruelty of the Dead. Canal Theaters. From September 1 to 19
As a film actor, Rubén Ochandiano can boast of having worked with Pedro Almodóvar, Steven Soderbergh, Juan José Campanella and González Iñárritu. But there is also a marked fondness for the stage in him, in which he has managed, apart from as a performer, as an author and director. We saw it in Animal and The evolution (It will be because I love you). “Using a birthday celebration as a pretext, Relief it is a farce, an irreverent and wild tragicomedy, which deals with the creation of evil, the birth of the monster ”, Ochandiano himself points out to describe the formal and thematic purposes of his work.
Bengal. Luchana Theaters. From September 2 to 30
Striking proposal to present a real boxer (Sergio ‘Maravilla’ Martínez, world champion on various occasions) on stage instead of the ring. But it is that the Argentine boxer has long expanded horizons, training as clown and pampering. On Bengal gives life to seven characters from the magín of Alfredo Megna. Seven rounds against drugs, abuses, iniquities, poverty … Objective: to stay upright and reserve the last blow with which to turn the cross of destiny to be able to look him in the face.
Eva vs. Eva. Goya Theater. From September 2
It should have been seen last season but the restrictions in Barcelona on account of the virus prevented it. This theatrical version of Naked eva, the classic by Joseph L. Mankiewicz, signed by Pau Miró and Silvia Munt finally lands on the billboard. Two actresses, two generations faced with the challenge of the same character Theater and life intertwined without knowing exactly where one ends and the other begins. Miró has ‘enriched’ his rereading with other references such as Sunset Boulevard or the haunting surrealism of David Lynch.
1940. Manuscript found in oblivion. Neighborhood Theater. From September 5 to 26
Blind Sunflowers, the harsh and enveloping evocation of the Civil War written by Alberto Méndez, had its filmmaking by José Luis Cuerda in 2006. And Toló Ferrá has also brought it to the stage, specifically the second story of the four that make up the book, Manuscript found in oblivion. It tells of the stranding in the Altos de Somiedo of a young couple fleeing Franco’s reprisals. Ferrá, director and adapter, proposes the staging based on a few days of academic study on Méndez’s work.
Joy. Canal Theaters. October 2 and 3
Pippo Delbono has not appeared in Madrid for a long time, also prolonged by the pandemic. So your visit with Joy takes on the character of an event. Few registas today propose such a radical and authentic theater. Surrounded by troupe of marginalized beings, on the border between sanity and madness, has developed a unique career, with (Pasolinians) descents in the hells of migration, drug addiction and disease. From those low depths the light starts for shows like this one, a search for the root of happiness.
Makers. The abbey. From October 7 to 17
“Reality is complex, and when someone raises it in a binary way we have the obligation to be suspicious.” It is the statement of Daniel Innerarity that is at the base of Makers, a play about light, time and love, a journey between nonsense and truth, with texts by Agustín Fernández Mallo, Rodrigo García and Óscar Gómez Mata, who also directs the montage and performs it together with Juan Loriente. The theater understood as a form of espionage, in the usual line of the Geneva-based company L’Alakran.
Yellow rain. Spanish Theater. November 4th
“The days were long, lazy, and sadness and silence fell like avalanches on Ainielle.” When in 1988 it appeared Yellow rain, by Julio Llamazares it was already obvious that the rural exodus would continue to be a dominant trend of humanity. In 2021 we have verified that that forecast has been much faster and more devastating than the worst forecast. The last inhabitant of Ainielle, played on stage by Pedro Rebollo, will tell us again about his titanic exercise of resistance, memory and dignity. Timely montage by Jesús Arbués.
Your hand in mine. Fernán Gómez Theater. From November 4 to 28
Carol Rocamora has woven this piece from the letters crossed by Antón Chekhov and the actress Olga Knipper. Suggestive genesis that reviews a relationship started in a reading at the Moscow Art Theater. First they were friends, then lovers, and finally husband and wife. In all that time they exchanged some 400 letters that reveal the insides of the shared sentimental journey but also how some of the great works of the Russian author were put together. Santiago Sánchez, in charge of L’OM-Imprebís, shapes this juicy epistolary give and take.
Just Call me God. Canal Theaters. From December 1 to 3
Another international event is the landing of John Malkovich in the Madrid theater. He arrives, how could it be less, wrapped in the skin of a mysterious and extreme character: the dictator Satur Diman Cha, head of state of the Republic of Circassia, who, after his overthrow, appears in a church between Wagner and Bach chords to utter his philippic against the West. Echoes of Arabian Nights in this written story ex profeso by the Austrian Michael Sturminger for the chameleonic records of Mr. Malkovich, who combines in his expressive palette features of Mobutu, Gaddafi, Hitler, Saddam Hussein …
Infamy. Ships of the Spanish. From December 9 to January 16
The memoirs of Mexican journalist Lydia Cacho are a gallery of horrors where impunity mixes with Mexican politics, drug traffickers with femicides and the persecution of reporters with the indifference of broad layers of society. José Martre takes all that material to string together a montage -with actors to be determined- that rises like a retaining wall against the inhuman drift of dark Mexico, which has kidnapped the happiness and well-being of the beautiful and, of course, beloved Mexico .
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from the origin of evil to the epicenter of joy