The title of the function brings me echoes of Italian comedy or, for short, what was previously called "costumbrista". What is still redundant: if it's well done, comedy always reflects customs. With truth and naturalness; with a precise balance between humor and emotion. If Pere Riera had not done Barcelona (2013), which repeated play in the TNC and Goya, or Infamy (2017), another goal in La Villarroel (and his work that I prefer), would have left The 600 donut for a little later. And if I didn't have that cast, it would also give me a bit of laziness, because I'm full of prejudices, and one of them was to think (briefly) that with that title and that color of peladilla I could have an overdose of nostalgia sixty.
The 600 donut It is a work designed to please, with very well drawn characters and plots that at times stick some skating, but rich in observation, with lively and fluid dialogues. A gentle, tender humor prevails, but one that knows how to become bitter when the scene requires it. Going back to nostalgia, I imagine it in Romea "from then", with a company headed by Pau Garsaball and Mercè Bruquetas. Is called The 600 donut because that stroller was a gift from Tomàs to Carme, who drove it for more than 40 years. And now he approaches a pocket Taj Mahal, you'll see why. Jordi Banacolocha is Tomàs, a pensioner from Pegasus. I was already, by the way (and great), like the grandfather of Barcelona. He is a very natural and enigmatic actor: I have the impression that he looked older when he started, and now I am almost younger than in those days. It is, ages apart, from the family of his namesake Jordi Bosch: he also exhales goodness. How he controls his wife's near loss is an interpretive lesson.
Carme, the mother, is Mercè Sampietro, an actress I always want to see. It has charm since it was invented and a very modulated voice. It takes time to go on stage in this comedy, but when it comes out you don't forget it. And his character is growing phrase by phrase. Do you deserve more paper? Of course, but even if I only had five minutes, I would nail them. And the capital dialogue between mother and daughters excites you big time.
(embed) https://www.youtube.com/watch?v=zoKkdqDC95A (/ embed)
Montse and Pilar can not be more different and live in confrontational ways the duel for the death of the mother. Àngels Gonyalons is Montse, a doctor without borders, full of humor and strength, able to go to the other side of the world in a pispás (Burkina Faso, specifically) if they require your help. Gonyalons is sensational. Sometimes we saw her somewhat wasted on papers that were not up to her. Your Montse is one of the best jobs I've seen. Rosa Vila is Pilar, the older sister. Another actress who plays a variety of keys. The first thing that comes to mind is his recent work with Pasqual, where he went from Els feréstecs to Bernarda Alba's house. Here he strikes with a sour and bichuno paper. She is a stiff and loaded with fists: of course, she does not leave her father or her mother, but we are guessing (thanks to the writing and direction and her acting work) where this bad sardonic milk that borders on the fierce comes from.
Pep Planas (which was also in Barcelona) Manel is Tomàs' son-in-law, with whom he has an almost filial relationship. It is in the age at which the possibilities of fulfilling old hopes begin to stagnate, and Riera tells that frustration very subtly, without acrimony. The scene, in flashback, of separation is very well mounted; Maybe a little too long. What is missing (or what is left over) to The 600 donut? It has contradictions, as in life. There are dialogues that lengthen somewhat, or so it seemed to me: the scene of the puncture in the car. But it may also be that this passage follows a Chejovian strategy: it seems that nothing happens, the water warms up without it appearing, and its closure is absolutely impeccable. I miss, however, some more development in the character of Pep Planas. I like how the bittersweet family secrets are emerging: the months that Pilar has been without seeing her father or the discovery of the leather notebook. I like the great fluidity of the setting of Riera, with those dialogues, which alternate with Chekhov, yes, but also with Neil Simon, and both converge in a scene that could not be better conceived and served: the hand in hand between Carme and Tomàs after the night visit that cannot be revealed, in a final third that reaches your heart.
The donut of 600. Text and address: Pere Riera. Goya Theater Barcelona. Until December 15.
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