Author: Álvaro Tato. Director: Yayo Cáceres. Performers: Alba Banegas, Antonio Hernandez, Diego Morales, Sol Lopez and Carlos Lorenzo. Fernán Gómez Theater, Madrid. Until February 24.
Outside their activity in the acclaimed company Ron Lalá, the playwright Álvaro Tato and the director Yayo Cáceres have taken this curious function out of their sleeve, which can only be understood as a manifest homage to the Golden Age and a theater model, which was developed in that period, which today continues to amaze the accuracy of its dramaturgical structure and the high levels of lyricism that managed to achieve. Following the paradigm that Lope de Vega defended in "The New Art of Making Comedies," Tato tackles with admirable brilliance the formal challenge of writing a swashbuckling comedy, in the 21st century, folding almost to the classic stanzas. according to the uses proposed by the Phoenix for each of them: «… The tenths are good for complaints; / the sonnet is well with those who wait; / Relationships ask for romances, / although in octaves they look extreme; / they are the tercetos for serious things, / and for those of love, the redondillas … ». But, in addition, the author allows himself some "innovations" that work, on the stage, with an extraordinary poetic vigor, as is the case of the tenth that Don Daniel and the Corregidor, two of the protagonists, recite, in separate sections, Alternately lending his voice to the verses to give an account of his different way of loving Aurora – the lady protagonist – by virtue of the age that each one has and of the different vital moment they go through. But there are also "innovations", as is logical, in the plot and in the deep sense of the work. As for the plot, the comedy of cape and sword is sheathed, as it progresses in the efficient and naked staging that has raised Cáceres, in the modern clothes of science fiction, so that the characters will end up traveling in time as if such a thing, from the seventeenth century to our days and vice versa. It is here when the Baroque is contrasted with the present, giving rise to an accurate and sympathetic critique of both societies in some passages that, again, reach an extraordinary poetic value. Finally, there is also in the outcome an important variation with respect to the classic comedies, in that the protagonist lady, in a challenging display of modernity, will end up getting rid of two suitors who, each in their own way, are really attacking his free will. All this comic network, in which there is, as I say, a patent homage to forms from another time, but also an attempt to recast them in a contemporary theatrical language, is enjoyed from the stalls, from beginning to end, with a open smile that is due, in good measure, to the work of a very consistent cast in which the veteran and youth have managed to shake hands with elegance.