The week kicked off with the premiere, just the day after Easter Monday, of Beethoven at the new space La Fàbrica of the Teatres del Farró. A show-concert created by Xavier Albertí and Albert Arribas, which explores the profound aesthetic and ideological footprint that the German composer has left on our contemporaneity. The work is a production of Centaure Produccions, starring Albertí himself, which premiered last March 27 at Teatre de Lloret, co-producer of the proposal. The following Wednesday, the other space of Teatres del Farró, La Gleva Teatre, recovered the physical theater proposal ÈXIT or EXIT that the company DueTeatre already premiered in December at the Dau al Sec hall.
The same Wednesday, the Sala Versus Glòries premiered El lladre de llibretes, a stage adaptation of the eponymous novel by Gianni Solla, set in a rural village in Mussolini's fascist Italy, with which the director and playwright David Pintó i Codinasaltas celebrates twenty years of stage career. The actor Albert Triola embodies the protagonist of this story: an illiterate shepherd who learns to write in secret.
For its part, the Teatre Tantarantana offered a double premiere. On the one hand, Els Marquesets, an artistic tandem formed by Toni Sans and Rubèn Montañá, who recently collaborated on the creation of L’amor venia amb taxi by La Cubana, presented the existentialist comedy Big Fake at Baixos 22 (Tantarantana's large hall). On the other hand, at Àtic 22 (the small hall) the performances of Com eliminar l’olor de lleixiu de les mans, a black comedy where the company Mala Idea pays tribute to the chambermaids, the lowest category in the hierarchy of the tourism sector, began. This work has been programmed within the framework of the project «Visionaries», an initiative by Tantarantana to bring performing arts closer to youth through direct participation and where a group of young people is invited to choose part of the theatre's programming.
Wednesday there were also two highly anticipated premieres: Tinc un bosc al cervell, a work by the Alicante-born Guadalupe Sáez created thanks to the Benet i Jornet Grants promoted by the Sala Beckett, and Mil tres, say cheese (Les resurreccions de Don Giovanni), an experimental opera by Cabosanroque that can be seen at the Teatre Lliure de Gràcia. The Beckett production has been directed by Alícia Gorina and poetically immerses us in a dramatic moment of family loss starring Rosa Boladeras and a group of young performers. In contrast, the Cabosanroque collective proposes a revision of the myth of Don Juan with a radically contemporary gaze, seeking common ground between the music of Mozart and Bad Bunny.
Finally, Wednesday's premieres also included the work [AGON]IA, a science-fiction story by Marcel Clement, charged with cosmic intrigue and psychological survival, starring Berta Pipó Canadell under the direction of Victòria Boixadera.
Even though the preview performances started on Wednesday, on Thursday we experienced another of the week's big premieres: the awaited stage adaptation of the celebrated novel by Eva Baltasar Permagel (Club Editor, 2018), by Albert Pijuan and Victoria Szpunberg, who also signs the direction. As in the case of Versus, the play is a monologue starring the actress Maria Rodríguez Soto and is the big bet of the season at Espai Texas.
The same Thursday, El Maldà premiered Escenes d’una separació, a new production by the company El Eje, which marks the debut of screenwriter Eva Pauné Martínez as a playwright, under the direction of Mercè Vila Godoy. It is a lesbian and contemporary update of the series Scenes from a Marriage (1973) by Ingmar Bergman starring Patricia Bargalló, Mar Pawlowsky and Eric Balbàs.
And at the Centre de les Arts Lliuresof the Joan Brossa Foundation a historic night was experienced with the premiere of Els polítics, the first text by the renowned German playwright Wolfram Lotz to premiere in the state. The work has been edited by Arola Editors with the magnificent Catalan translation by Marc Villanueva Mir. It is a river poem that uses songs, rhyme and repetitions to advance a looped discourse that denounces the contemporary immobility of a society gripped by fear, accustomed to constant complaint and reluctant to politicize itself. A true interpretive challenge faced by Guillem Albasanz, Francesc Marginet, Sandra Pujol and Ainoa Ro
Thursday there were also two circus premieres: on the one hand, La Badabadoc presented Búnker, a clownesque comedy created by Albert Requena and Christian Atanasiu, directed by Carlo Mô and, on the other hand, the Antic Teatre recovered Cruuu, a show by the clown Diana Gaddish that we already enjoyed in March last year within the Dansa Metropolitana festival. For its part, the Mercat de les Flors premiered a large-format proposal with the choreography RA! by Patricia Caballero, which brings together almost twenty performers on stage.
The same Thursday also premiered at the Teatre Gaudí Barcelona Por, an adaptation of the eponymous novel by Stefan Zweig by creator and performer Andreu Rifé. A show that talks about the dread that paralyzes us and that Rifé had been pondering for a long time; in fact, the project began to take shape a year ago thanks to the patronage of the Romea Foundation. From Friday, the same venue also brought back the monologue Dona i aspirador(a) that Helena Tornero wrote for the actress Míriam Escurriola Peña: a text premiered in 2024 at Sala Beckett and published in the collection «Zona d'Emergència» by Galés Edicions and the Institut del Teatre. The text addresses some primordial questions of ecofeminism and, in part, is inspired by the course «Teatre i Ecologia» that the English director Katie Mitchell taught at the Sala Beckett Summer Workshop in 2022.
Today, Friday, April 10, the Teatre Nacional de Catalunya will premiere El sonall, the new immersive show by Projecte Ingenu, with dramaturgy by Alba Collado and direction by Marc Chornet Artells which is, at the same time, an exercise in historical memory and an act of reparation based on the real case of Catalina Muñoz, executed in September 1936 and buried with her nine-month-old son's rattle in a mass grave in Palencia.
On the other hand, the Teatre Eòlia will host the debut as playwright of the actor and cultural communicator Nil Martín López with the premiere of El dibuixant de laberints, a work of autofiction with a lot of humor and touches of magical realism, awarded with the Odisseu Eòlia Grant 2025. A comedy about contemporary anxieties and insecurities, directed by Júlia Valdivielso, where father-child relationships hover over the entire production.
From Saturday, the Teatre Lliure de Montjuïc will host a proposal for all audiences: the visual show Kimu (La casa de todos), by the renowned Basque family theatre company Marie de Jongh. A tender and fun mask proposal conceived by Jokin Oregi. And throughout the weekend, the family show Pintamúsica will also return to Teatre Goya, a proposal by Viu el Teatre for children aged 0 to 4, which explores the universe of Joan Miró through music, and which has been touring for over a decade.
Finally, on Monday, April 13, Espai Texas will also bring back Mili KK, a verbatim documentary theatre show about the Conscientious Objection and Insurrection movements that overturned the relationship of an entire generation with compulsory military service. With dramaturgy by Jumon Erra and Marc Angelet, the play premiered at the Temporada Alta Festival 2018. This revival retains the actor Rafa Delacroix from the original cast and incorporates Xavi Navarro and Joan Marmaneu in substitution of Francesc Cuéllar and Alberto Lozano.
