Taking 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.

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.

There are no stories written in lowercase. All of them, regardless of their impact, contribute to the story written in uppercase, as can be seen in The architect, Performed at the Teatro del Mar, written by Josep Ramon Cerdà, directed by Rebeca del Fresno, and starring Xisco Segura, Miquel Àngel Torrens, Caterina Alorda, and Xen Garcinuño. A story within the history of this country, a brushstroke brimming with elements and countless corners and angles that, in some way, precisely depict the origins of who we are. A hypothetical conversation forms the backbone of the narrative, speculating on speculation, tourism and all its consequences, and modernization at any cost, against a mysterious backdrop that simultaneously lends substance to the story: the murder of one of the main protagonists, two renowned architects, one by name and the other by artist. With them, Cerdà weaves fiction from reality. A Pasolinian crime. forward the letter Unresolved, all shadow and without a single glimmer of light, it serves as a buttress for an entire ship that would become an immense, unattainable building, with the capparas of two ways of understanding a profession that is always sidelined. Ferragut was an exception and died in not so strange circumstances.

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.

A conversation between Gabriel Alomar and Josep Ferragut, a tour of a city that has been left in the dark from the perspective of three women, and a triptych on the millennial generation where concepts such as 'toxic positivism' resonate. These are just three of the ingredients that make the new edition of the Festival de la Palabra, an initiative organized by Produccions de Ferro that takes place between the months of October and May, can be defined as "a festival of construction." "And that doesn't mean it's a festival under construction," Toni Gomila, director of Producciones de Hierro, suddenly clarifies in conversation with ARA Baleares, "but rather it invites us to reflect on how we build cities and how we relate to each other, all together, indirectly and sometimes in very obvious ways."

Whoever thinks that the unforgettable memory of the first performance, in 1995, of Twist & Chekhov would diminish or eliminate any of the possibilities of enjoying the revival is wrong. The only thing that has been lost along the way is its amazing breadth. After forty years of Iguana Teatre and thirty of this production, the only thing that could surprise us about the group would be a theatrical fritter, but, as the bullfighter said: "What cannot be cannot be, and furthermore, it is impossible." There is no doubt that Twist & Chekhov It was the great theatrical revolution in our history. It was a breath of fresh air in the world of theater, not only in the way it approached interpretation, but also in the choice, conception, and structure of the work. When the usual thing would have been to recreate The Seagull, Uncle Vanya either The cherry orchard, that the author was quoted upwards, Pere Fullana pulled out of the basket an unlikely and wonderful miscellany made up of nine Anton Chekhov stories as if they were one. A small fade to black scatters the stage with the different stories, infused with Beckett-esque traits, which unfold at a pace as brisk as it is light. We were left speechless. There was a good reason.

The Teatro del Mar (TdM) begins its fall 2025 program with a combination of social theater, in-house productions, creative residencies, and guest performances. Its aim is to establish itself as a space for cultural and community gatherings.