That the plenary sessions of the Manacor City Council are something else is a fact demonstrable with the videos that the council itself uploads each month to its Youtube channel. It is clear that like any good ‘show’, the plenary session has politically boring and administrative procedural moments; but it has others, especially when it comes to the turn of requests and questions, where the emotion skyrockets (and often goes crazy).

The summer festival La Lluna en Vers returns in 2026 to Mallorca with a program of 14 nights of open-air culture spread across different points of the island and an image marked by the eclipse of August 12, which this year inspires the visual and symbolic narrative of the project.

It was formerly called the House of Comedies, and the current building was constructed in the 19th century. But Palma's Principal Theatre stands on the same site where performances were already taking place in the 17th century. For 359 years, comedies have been staged in the same location, next to the former stream that gives its name to the street where it is located. As we approach World Theatre Day, as we do every March 27th, we explore the history of this stage.

Return to the Gran Teatre del Liceu Manon Lescaut, by Puccini, and it does so with a truly unbeatable headliner: the splendid Asmik Grigorian, whose production is directed by Àlex Ollé and conducted from the pit by Josep Pons. This is the second musical version of Antoine François Prévost's novel, which was originally titled The story of the Chevalier des Grieux and Manon Lescaut, The maestro from Lucca achieved his first major public success. A success that the Ricordi management, apart from his boss and the boss, weren't entirely convinced about, since it was the same story that Jules Massenet had staged ten years earlier with considerable acclaim. Although there are still those who say that Manon There's only one, and they're not referring to the one we're discussing; undoubtedly, this one has already earned its place among those that haven't been left out of the major circuits. Manon The Grigorian chant is an added value, both in terms of the dramatic aspect, which is essential in this case, and the vocal aspect, with an excellent, flawless performance.

We could give many examples that confirm the truth of the title, but just the last three operas I've seen these past few days immediately dispel any doubt. First was the Gotterdämerung Wagner's opera, where it becomes clear that the tragic and central protagonist is Brünhilde. And she is none other than Senta, who heads the cast of The Flying Dutchmanwhich we were able to enjoy at the Principal Theatre of Ciudad. To round off the week, at the Gran Teatre del Liceu, the one who carries the banner is the one who gives the work its title, The Mona Lisa. A composition, the only known one by Amilcare Ponchielli, yet still an indisputable masterpiece that requires six top-level voices to reach its full potential, as was the case in the production between the Liceu and the Teatro San Carlo in Naples, with stage direction by Romain Gilbert. Based on a drama by Victor Hugo, Angelo, tyrant of Padoue, to which Arrigo Boito, author of the librettos for Verdi's last and among his most highly regarded operas, under the pseudonym Tobia Gorrio, moved to Venice. An aspect that Gilbert has configured with complete and absolute fidelity, adding a few touches of the conmedia dell'arte, with the inclusion of Harlequin, Pantalone and Columbine, in addition to some narrative liberties, such as, among others, the final appearance of The Blind Woman, by Violeta Urmana, who still retains many of her qualities and, above all, the skill to accurately depict the essential characteristics of the character.

Twenty-eight editions have taken place in the bars of various Ciutat establishments, which over the years have become theatrical havens, where every Thursday they fill up to enjoy these wonderful little stories with a beer in hand and a tapa in mouth. The theme for this year's event offers plenty of material: tourism, which none of the authors have glorified or even hinted at. On the other hand, recommending one performance over another is more difficult than ever.

Animula, vagula, blandula/ Hospes comesque corporeal/ Quae nunc abibis in loca/ Pallid, rigid, nudula, Neco, ut solas, dabis yocos… Thus begins the funeral poem written by the Emperor Hadrian, which inspired Marguerite Yourcenar for her Memoirs, as a hypothetical farewell letter he writes to his young successor, Marc Aureli. A piece that was, at the time, essential and delightful reading. Years later, none other than Maurizio Scaparro brought them to the stage in an adaptation by Jean Launay, starring Giorgio Albertazzi, which we saw at Madrid's Teatro Albéniz. The director himself revived it in Spanish, starring José Sancho, with whom he toured much of the Iberian Peninsula.

Tenant It is the latest theatrical farce of the caloric Julia Truyol. She always chooses well, from the company with which she has become a canonical benchmark to others. Her standards are very high, and on this occasion, once again, she has surpassed them with that natural interpretive skill that is her trademark. However, Tenant It's a challenge with a few added twists and turns, requiring many elements surrounding the story for the project to succeed. First, a good script, starting from a very common situation: a tenant evicting a female tenant due to the excesses, to put it mildly, in which we live and which we've even become accustomed to, shrugging our shoulders and thinking, "What can you do?" Putting this everyday circumstance on stage risks turning it into a piece of everyday life. That's not the case here. Furthermore, a monologue needs plenty of incentives to keep the audience engaged, forcing the protagonist to perform a series of somersaults that can only be overcome with a wide range of registers at a pace that, if not frenetic, is certainly high-energy, constantly shifting her tone, going from despair to resignation, reflecting the protagonist's temperament.

Teatre del Mar has presented its 2026 winter season with a program that consolidates its unique cultural model, based on the combination of contemporary creation, social theater, education, and artistic residencies. The program champions the stage as a space for critical thinking, community cohesion, and artistic risk-taking, with a focus rooted in the local area and open to social transformation. The season will open on January 17th with a concert that sets the tone for the cycle: Jazz Flamenco, featuring Toni Cuenca and Benji Habichuela. These two artists, whose careers have been linked to figures such as Paco de Lucía, María del Mar Bonet, and Buika, will present a performance that fuses jazz and flamenco through improvisation, singing, and dance, in a dialogue between musical universes that symbolizes the spirit of encounter and creative freedom that the theater aims to foster. The winter performance program combines major works and contemporary creation with productions of strong social content. Leading companies and artists such as Producciones de Hierro, La Impaciencia, Colectivo NINS, La Fornal de Espectáculos, Teatro Nu, Om Imprebís, and Toni Albà will participate. Titles such as Cyrano, Plum, Z/B (Zweig & Bernanos), Where do we come from? and 50 years of Memocracy, Among others, they create a diverse program that engages with the present through the stage.

If I had to choose just one play, I'm sure it would be Cyrano de Bergerac, Edmond Rostand's play, which I'm almost certain is the one I've seen adapted the most times in my life. Seeing it advertised at the Teatro Principal in Ciudad, with Salvador Oliva's adaptation by the company La Impaciencia—founded by Rodo Gener, Salvador Oliva, and Xavi Núñez, and directed by Luis Venegas—evokes at least two opposing feelings. On the one hand, the enjoyment of being able to see and hear the words, adventures, and misadventures of someone whom it's impossible not to admire, envy, and never even come close to. On the other, I confess, the doubt of how far this daring group can go with only three actors and four wooden boxes as scenery in just an hour and a half of performance.

The Teatro Principal in Palma has closed the first part of the 2025-2026 season with a 7.1% increase in audience numbers compared to the same period last year. Between September and December, the cultural venue recorded a total of 22,473 spectators, compared to 20,976 in 2024. According to the Consell de Mallorca, this increase was boosted by several weekends with high occupancy rates, with performances selling out. This is the case of Cyrano, from Impatience, and GiantStarring Josep Maria Pou, these two productions have significantly contributed to the increased attendance.

The Sant Joan City Council and the Diocese of Mallorca have reached a historic agreement: the purchase by the municipal administration of the former cinema and theater in the Catholic Center building, popularly known as 'Es Centro'. The space has been disused and closed since a fire destroyed it in 1978. The deal comes after several attempts in recent years by municipal governments to acquire the building or, at the very least, secure its temporary transfer. None of the negotiations were successful. The Mayor of Sant Joan, Richard Thompson, has confirmed to All Plans The negotiations and contacts initiated at the end of 2023 have come to fruition: "The Diocese has already authorized the sale after the current parish priest of San Juan, Father Francesc Xavier Riutort, submitted a request." The preliminary agreement is for approximately €390,000 for the purchase of the 618 square meters occupied by what was the theater in the Es Centro building. In fact, the bar is open, and on the first floor there is an area used as a rectory and a space for other activities. There is also another area used by both the City Council and the bar itself as a storage area. All these spaces will remain the property of the Diocese.

Again, The elisir He again gave the impression that he preaches the jocoso Doctor Dulcamara, sung for this occasion by the great Ambrogio Maestri, is a role he has performed so many times throughout his career that it has become a paradigmatic canon. And regardless of his voice's decline, he is still the smooth-talking purveyor of the cure-all potion. Meanwhile, Javier Camarena/Nemorino, who debuted at the Liceu thirteen seasons ago in this role, was still unwell, and Michael Spyres took over, who, it should be remembered, had sung it the day before. There was little applause at the end of almost any of the most famous and acclaimed arias, until he sang the renowned... A furtive tearWith that, he woke the audience up as if someone had stepped on a lightbulb. A little unfair, they made up for it later, and the party ended as always, with the audience in a frenzy, accompanying Dulcamara when she did the obligatory encore, the usual one. Udite, Udite Oh! Rusticio.

They are two of the most important figures for understanding the current character of Palma, and they have much in common: significant education, time spent abroad, and a broad understanding of the context that surrounded them when, in the mid-20th century, they laid the foundations of this city as we know it today. However, there were also notable differences between the architect Josep Ferragut and the urban planner Gabriel Alomar. It is precisely these opposing viewpoints, despite their friendship, that have prompted the playwright Josep Ramon Cerdà to give voice to an unlikely encounter between the two on the night before Ferragut's death. This imagined dialogue is the twin of the play. The architect, which premieres on November 7th at the Teatre del Mar under the Produccions de Ferro label and starring Xisco Segura and Miquel Àngel Torrens.

It was the first half of the 1980s. They were young, very young, and everything seemed possible. Well, everything... except making a living in Mallorca doing theater. But they managed that too. Iguana Teatre, a company that has been key to the Mallorcan theater scene, made its debut in November 1985 with a party at the Palma studio of painter Horacio Sapere. Forty years have now passed since then.

When Iguana Teatre was just starting out, an economist's report assured them that a theater company in Mallorca was unviable. This led them to believe, explains Carles Molinet, that "not only should a company be created, but an entire sector": a profession, with all the corresponding infrastructure. Thus, Iguana and Molinet, along with many others from the Mallorcan theater scene, created a theater—the Teatre del Mar—and professional associations—Illescena, for theater companies, and the Association of Professional Actors and Actresses of the Balearic Islands (AAAPIB), for performers—and a circuit throughout the Catalan-speaking territories. Molinet also drafted the proposal for the creation of the Higher School of Dramatic Art of the Balearic Islands and participated in the establishment of even broader organizations, such as Gescénic for studies and training, the State Federation of Associations of Theater and Dance Companies (Faeteda), and the Insulares federation, common to all the associations.

Laura 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.

The loneliness of celestial bodies, by Girona-born Ferran Joanmiquel Pla (1975), took home the award this Saturday afternoon at the fiftieth edition of the Born de Teatre Prize, the most prestigious privately-run theatre creation award in Spain. The play, which narrates a family drama of high emotional intensity and with autobiographical touches, prevailed over the remaining 115 pieces presented in the competition, which came from up to ten different countries.

The Riera building is hosting the 2nd Exchange Conference on Theatre and Literature for Social Transformation this Thursday. The aim is to highlight the links between research, literature, and theatre to address gender-based violence, trauma, emotional health, and ageism, and to foster the creation of emotional bonds and spaces for change. The UIB has brought together researchers and experts in literature, theatre, mental health, and social action for a day of analysis and debate on the transformative potential of writing and theatre, understood as tools for building more resilient, sensitive, and committed communities for social change. The research project Remlicat (Emotional Regimes of Contemporary Catalan Literature) and the group associated with the Institute for Research and Educational Innovation (IRIE), The Shape of Dreams, are the driving forces behind this initiative.

From October 16th to 19th, Vilafranca de Bonany will become the epicenter of family and youth theater with the celebration of the twenty-third edition of FIET, the Children's and Youth Theater Fair of the Balearic Islands. Under the slogan "We continue dreaming of theater," the event will offer 48 shows in 103 performances by 46 companies, three of them international.