'Laura', Laura Pons
It's not at all difficult to understand that it's a farewell, in full possession of his faculties, consciously, at the peak of his career
PalmLaura It's a farewell and also, in a way, a tribute to Laura Pons. But let's be clear, this isn't a report full of black and white memories and the smell of mothballs to highlight a career. On the contrary, Laura It's the best way to say: "Goodbye, I've done everything I had to do and a little bit more. Now I've left you with a small taste of my work. A task that began on stage practically from the moment I was born, or even a little before, as it should be, with a character, like so many I've played, me, me, as me." Those responsible for this delightful—and often wild and much more—concoction, Rafel Gallego and David Mataró, haven't delved into the treasure chest of nostalgia, nor into a historical overview, an anthology, or anything of the sort, which, on the other hand, would have been the easiest and most conventional approach. What they've created is a tailor-made dress for a great lady, where they've embroidered a whole series of characteristics, and some very subtle autobiographical touches, with which the actress demonstrates immeasurable talent and showcases a good part of her entire life on stage. This character, also named Laura, has a daughter and a cleaning lady, with whom she suddenly finds herself in a strange situation—one we won't spoil—but which serves as a review, albeit of a different kind, of everything they had done and, of course, kept secret.
Performed by Laura Pons, Enka Alonso, and Mariona Hau, and directed by Marga López, the staging skillfully combines simplicity and sophistication, and a pace that at times makes the plot's chaos feel dizzying, in the best sense of the word. Each new confession multiplies and surpasses the previous one. Each situation is exponentially crazier than the one before it, like an immense in crescendowhich is resolved with a somersault, Two curls and a song, performed by the main protagonist. Laura Pons exquisitely displays her full range of talents, barely changing her register, with the naturalness of the greatest, and with invaluable company. A well-chosen trio that makes this repertoire of errors and absurdities that arise repeatedly take us from a smile to a belly laugh, and the complicity between them seems spontaneous and genuine. Yet, it's not at all difficult to understand that this is a farewell, at the height of her powers, a conscious one, at the peak of her career, which makes it all the more praiseworthy and admirable, and which, in any case, is anything but conventional.
PS- Long live Laura, Laura Pons.
