Diversions, savings and confessions

PalmaTaking the classics and from here telling what you want to tell has been the plot gimmick with which Miquel Mas Fiol has put together this 'Millennial' Condition Trilogy. The author and director has not held back. The first victim was Voltaire; the second, Goethe, and the third, Victor Hugo. Candide or Optimism, The Sorrowsof Young Werther and this last one, Les Misérables, have been the MacGuffin for the author to launch his discourse, based on having a good time without leaving a single head on anyone's shoulders. Not a single cane standing, without exceptions. The first, his own, from before the show began, with two of the protagonists launching invectives against the author. From abuser to exploiter... while people entered the venue. This is his license, the safe-conduct that allows him to beat mercilessly, right and left, outside red lines.

It begins as if it were a musical performance of Les Misérables, with a single protagonist for all the roles, with Gerard Franch playing Valjean, Javert, Fantine, Cosette, an exhibition of versatility, already quite amusing, until the revolutionaries enter the scene. And here begins the show, which is nothing more than a parody and a great speech very miquelmasfiol. His own seal.

Metatheatrical provocation without a clear direction. The narration wanders like an angry, delirious compass, towards all cardinal points. Politicians, writers, theatre people, scholars, the privileged classes, the middle classes, and revolutionaries are received, because Les Misérables also have their share of the fringe. And the audience? The audience too, interacting, motu proprio or with the complicity of the three protagonists: the aforementioned Gerard Franch, the new one, who had not yet suffered the author-director's severity, Lluís Oliver and Mel Salvatierra, who already knew what they were talking about, because they had been the protagonists of Candide and Werther. Everything well tied up in this new MMF creation, in which the only thing that cannot be controlled is the duration, always depending on how much the audience and protagonists are enjoying themselves. It lasted almost two hours in the performance that took place at the Teatre del Mar as a theatrical cherry on top of the closing party of the Festival de la Paraula de Produccions de Ferro, which, on the other hand, received the award from the Association of Spectators of the Teatre del Mar for its play The Architect, by Pep Ramon Cerdà. Major festival, fun, awards, and confessions. Toni Gomila said that Iguana and Produccions de Ferro are celebrating.

PS - At the Teatre Lliure they were able to see the entire trilogy in one go. It would not be a bad idea to be able to see it like that here.