Perhaps there is nothing more painful than the death of a child. A man, in despair, on the banks of the River Thames, amidst the dark thicket, cries out to the indifferent stars: to be or not to be, that is the question. To suffer heartbreak, injustice, the deaths that leave us helpless, the calamities of a life that, for at least two centuries, we have known has no order or meaning, is a heavy burden. Why do we endure, William Shakespeare asks us, if death is so near? Albert Camus argued that this is the true question, the one that opens up all possible philosophy: why be instead of die? Sung from different places, the wound of finitude leaves us exposed before life.

Watching Shakespeare is like listening to Bach, both always inhabit another dimension. On the other hand, watching The storm, The last work the bard wrote and signed on his own, makes the possibilities of enjoyment increase exponentially. The fact that it's in the Biblioteca de Catalunya, where Oriol Broggi practices white magic with top-quality ingredients, almost guarantees the above. To top it all off, if Lluís Soler is in charge of bringing Prospero to life, no one can avoid the consequences of the spell's emanations. That said, and without getting into the details The storm Whether it's a testamentary piece or a declaration of intent, what is clear is that it contains all the traits and virtues of someone without equal. The characters, circumstantial inhabitants of an island that is also a universe, make up a precise kaleidoscope of the human condition. If, as Broggi says, the play speaks of forgiveness and reconciliation, it is still a miscellany in which we can find everything from revenge to ambition, from scoundrels to fools, where no one is perfect. Or perhaps just Miranda, played by Elena Tarrats, and her lover, Ferran, embodied by Eduard Paredes, surely or simply because they are still too young, still tender.