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' Prometheus'

And FIRE?

In Aeschylus and H. Müller. Address: C. Portaceli. Starring: C. Elias, D. Bagés. G. Flores, Ll. Castell, Ll. González, P. López, A. Pérez. Teatro Valle-Inclán . Madrid.

"I hate all the gods, who have received benefits from me and I have paid with injustice, brama Prometheus, chained by Zeus. His crime, stealing fire and giving it to mortals, is in Aeschylus, adapted by Heiner Müller, a political history of pride and rebellion against the power stage calls for a solution between the epic and passionate. What's more humane to face the gods?

But in this "Prometheus" which arrives at National Drama Centre from Grec no fire or emotion. The direction of Carme Portaceli binds us to a dungeon cold metal towers and water surfaces that separate the viewer from a text in itself hidden, containing more than moments of exceptional height.

Portaceli good hand heads with his cast: a complete and painful great Carme Elias Prometheus nothing feminine, as well as a fun Ocean (Pepa Lopez) and a successful Hephaestus (Albert Smith). Also the choir, which assumes both solo and with a great job Gabriela Flores, although this stage is little option for those unfamiliar explained texts. As happens in the end, where the drama of Paul Law is interesting but hasty: the amazing story of the eagle and the release of Titan becomes an oratorio which, despite being accompanied by a crescendo Live jazz frantic, like a patch.

Photo: David Ruano

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"Races"

MAMET DOES NOT IN THE WHITE

Author: David Mamet. Dir: Juan Carlos Rubio. Cast: Toni Cantó, Emilio Buale, Bernabe Rico, Montse Pla. Scenic Area: Ana Garay. Slaughterhouse- Ships from English. Madrid, 14-XII-2010.

Are we all racist? "What are the most unexpected ways to ourselves? "Breeds" penultimate challenge of David Mamet, is the boast of a Trileros speak on social conflict more deeply entrenched in the U.S. skin, of his color. And, in passing, hit a look at the judicial system.

Mamet, a skilled 'hooligan' in the script (at times, this drama looks like a TV series attorneys), is about the rhythm of "Glengarry Glen Ross" without achieving his genius. Victory, "Breeds", premiered on Broadway last year, launches stabs of humor in a dramatic message: yes, America is racist. And not only are white with black, also black with black, black with white, black with white ... Uff, too, even for Mamet, who looks like a crazed sniper atop a tower overlooking the entire country. What is the final message?

Still, in aggressiveness and the vertigo of the dialogues there are flashes of talent: a pronoun in the middle of a verbal test, which the modesty of a prejudiced jury would not accept alienated, become a violation in a consensual act. It is no coincidence that the most juicy, lawyers and partners interracial Jack Lawson and Henry Brown, hold function: Mamet agrees with them in their skepticism about affirmative action.

Maybe that's why Toni Cantó and Emilio Buale brilliant especially the first, with the charm of fine-cheats above a Bernabé Rico need more intensity, accused of raping her a black is hardly a "McGuffin" in the workshop of a skilled puppeteer in smokescreens like Mamet-and Montse Pla who defends dignity to dance with the "ugly", a fellow who is pure prejudice. The cold modernity of open terrain Ana Garay, who introduces us to a design firm, and the baton of Juan Carlos Rubio attacked, too anger where it could be something more than irony and play, contribute, along with the uneven text, that "Race" is a cool feature but not a memorable work.

Photo: Sergio Parra

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"The Bride '

THE FRAGILE BEAUTY OF

Author: Anton Chekhov. Address: Angel Gutierrez. Cast: María Muñoz, Chema Coloma, Consuelo Montoya. Chekhov Theatre House. Madrid.

Nadia discovers another life in the words of the dreamer Sasha, their relative tubercle whose end is written. In the afternoons of tedium of bourgeois Russia dozing, Sasha is the future without a future, as if Chekhov who wrote "The Bride", one of his countless stories, were over a thousand dreams "he sensed that the country is bankrupt. There is in this beautiful story of a girl who does not want to simply "Mrs." an ode to friendship and practice: Sasha is platonic love, teacher and indelible figure in the emancipation of Nadia.

Only Angel Gutierrez, the most Chekhovian of our theater people, a child of war he learned in Russia to make Chekhov's drama and love, could address this fragile story with such sensitivity: the spring scenery, the hum of a violin, rocking in the swing of youth Nadia, in a cloud, dancing solo with a bridal veil half-light, Summer Storm ... Gutierrez returns to make beautiful theater with few resources.

And the first is the human material. Chema enthusiast Sasha Coloma and frivolous mother who gives life Consuelo Montoya are correctísimos work. But Nadia is discovered María Muñoz, a fine actress, all melancholy that fills the stage with his eyes.

Photo: Mary and Chema Muñoz Coloma, in the work (image Chekhov House Theatre)

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' Beaumarchais '

Flotats, THE great insolence

Author: Sacha Guitry. Translation: Mauro Ermine. Address: Josep-Maria Flotats. Costumes: Franca Squarciapino. Cast: JM Flotats, Peter Casablanca, Maria Adánez, Carmen Conesa, Ramon Barea, Constantino Romero, Raúl Arévalo, Manuel Gutierrez-Cuevas ... English Theatre. Madrid, 2-XII-2010.

In right hands, the great ones have the potential to scale dramaturgical. Brecht magnified, if possible, to Galileo, and Casona Quevedo, providing them with the breath of life that prohibits aseptic historical essay and theater demands. "Beaumarchais" in this sense, is a biography, and it is more than the previous examples, "but above all a portrait of a passionate man, passionate about everything: women, literature and politics. And, above all, life and libertad.El author of "The Barber of Seville" and "The Marriage of Figaro" was a watchmaker, a lawyer, owner, arms dealer, playwright and spy. He was imprisoned, was married three Sometimes agents put their services at the service of King Louis XV, he starred in a famous trial that brought down a government, he participated with his fortune in the French support for the independence of the American colonies fed from his works the French Revolution, survived the Terror of Robespierre and eventually passed on to posterity by his two comedies, famous in part by Mozart and Rossini.

the middle of last century Sacha Guitry made this candy in front of the child Flotats high school, hoping to premiere it took sixty years to come, but had about film version, "Beaumarchais , the insolent. " It was a tantalizing treat in bright colors that the English director, another great insolence, performs with enthusiasm and devoured in two hours of lively, humorous and exaggerated drama. Bufo at times, perhaps over-grazing is allowed on the vaudeville stage of the duke cuckold, and comes at the end of the "commedia dell'arte" - but the costume is good recipe for the weight of history not to fret viewer.

Flotats, at this point, is, like Beaumarchais, a character summed up in his name. A great actor, here proves once again with a collection of emotions and reactions to the height of the greats. Is perfect, funny, charming and egregious, as it must be your own Beaumarchais. But Flotats is also something more: a style. Lover French period ranging from seventeenth to nineteenth know that the formula of two actors and two chairs, made in "Dinner" or "Meeting of Young Pascal Descartes' runs. So 'Beaumarchais' opts for a change: thirty actors and two chairs. Oh, and one ... Scenery "? Since then, the action created by Ezio Frigerio and Massimo Listri is ingenious: beautiful projections that take us from Paris to London. But projections to the end of the day. Something more was spent on English and Arriaga Theatre co-production in costumes by Franca Squarciapino Versailles.

brightness does not exclude Flotats Where is a list that allows Constantino Romero and Maria Adánez on anecdotal paper. Because he is none other than Benjamin Franklin, and her first lover know of Beaumarchais. But is this and only this, the protagonist, while secondary characters are great satellites of his genius, with Peter as the faithful biographer Casablanc Gudin of Brenellerie and Carmen Conesa as intelligent lover Marie-Therese Willermaulaz, both rounds but also aid Flotats chamber, which reserves the winning role.

plane alone briefly steals the Chevalier d'Eon fun Raúl Arévalo, in a game of sexual ambiguity anthology. On stage, the life of Pierre Augustine Caron de Beaumarchais (1732-1799) happens in episodes linear, almost the only downside to this text somewhat hagiographic-liners, especially the protagonist, is the lack of dramatic unity in a succession of anecdotes that make a portrait. But the curtain falls and has not missed. Beaumarchais Flotats and theater have been made and smart and that's what counts.

Photo: Ros Ribas

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"The 80 are our"

TWENTY YEARS ARE NOTHING

Author: Ana Diosdado. Address: Antonio del Real. Starring: Natalia Sánchez, Borja Voces, Blanca Jara, Gonzalo Ramos, Claudia Molina, Álex Barahona, Antonio Hortelano, Juan Luis Peinado. Häagen-Dazs Calderón Teatro . Madrid, 1-XII-2010.

sounds modesty and teenagers with the present and the aspirations balled up in a New Year's Eve dance will be cathartic but still do not know. Your Age. Y that was the case yesterday and will be so tomorrow. Twenty years is nothing to "The 80 are our" interesting portrait of a generation with its lights and shadows pulse written in 1988 with dramatic success by Ana Goddess.

Children posh summary of the saw the best and the worst that Spain taking off: the will to change "the character of Christ, a Blanca Jara that has much to say as an actress - the cynicism, the intelligent Rafa, there Borja Voces actor-and caste, embodied in the marginal Miguel (Antonio Hortelano well too.)

Antonio del Real honors with a montage that was classic theater: the gear works and the public spend some time in the 80's with a bunch of young faces among them given the grace of Claudia Molina and accuracy of Natalia Sánchez.

Photo: David Ruano