Those Madrid spectators who in March 2018 already enjoyed as dwarfs Mammon (https://www.diariocritico.com/teatro/critica-mammon-teatros-canal), surely they have the names of Nao Albet Y Marcel Borràs, Young terrible children of the Catalan theater. Well, let them know that that Mammon it was nothing next to ‘Robbery, beating and death in Agbanäspach’, which can now be seen at the María Guerrero Theater. They themselves have written, directed and even performed together with other great actors a festive, sublime and hooligan theatrical proposal mix of genres (thriller, autofiction, meta-theater …), an explosion of life, art, interpretation, play, light, music and sound to surprise, delight and -probably- the definitive theatrical engagement for the youngest spectators.
Despite its insulting youth (30 and 31 years old), this is already the tenth joint project of No Albet Y Marcel Borràs who continue to explore that other way of telling fables, mixing them with other arts (cinema, video games and comics, above all), finding expressive codes with which the youngest quickly identify. They include everything from rogue language to the most sublime operatic aria performed by a soprano who attends the death of her lover. And everything is enjoyed with as much naturalness as permanent enthusiasm, surprise, humor, irony and interest.
Accompanying the authors on stage are six other actors who put themselves into the shoes of more than 40 characters: Irene Escolar (fascinating his interpretation of Mary Kapravof, that muse performer Russian, speaking in her vernacular or in English with a Soviet accent), Carlos Blanco, Alina Furman, Eva Llorach, Francesca Pinon Y Vito Sanz.
Dazzling, magnificent the interpretation of the entire cast, unfolding into characters and characters at breakneck speed, with the charm of the actors of the music hall New Yorker on 42nd Street and with the precision of a Swiss watch, during the two hours of the montage.
The fable of ‘Robbery, beating and death in Agbanäspach’ describes the inner and outer journey of two alter ego of the protagonists, No Y Marcel, two friends who grew up together in a hostess club cleaning rooms between service and service, and who also discover their love for the theater together. One fine day they are both commissioned to build a play about a robbery at the Kaczynski Theater. In this process doubts arise: is this what they really want to do? Will they rise to the occasion? Will they not have to make concessions and more concessions, distancing themselves more and more from their truth as artists? The sudden appearance in their lives of Maria Kapravof, true muse and performer of the people who live around the Volga and the Urals, it is going to revolutionize their conception of things and, even more, to turn their lives upside down …
A meta-theatrical, surreal, hooligan and hilarious collage that, in addition, supports on stage a great artistic team that we review below (scenography, light, sound, music, costumes, video and choreography), which elevate the theatrical proposal of Nao Albet Y Marcel Borràs to the highest peak of the best theater. Absolutely a must.
‘Robbery, beating and death in Agbanäspach’
Written and directed by Nao Albet Y Marcel Borràs
Distribution: Nao Albet, Carlos Blanco, Marcel Borràs, Irene Escolar, Alina Furman, Eva Llorach, Francesca Pinon Y Vito Sanz
Scenography: Jose Novoa
illumination: CUBE.BZ (Mary of the Chamber Y Gabriel Paré)
Locker room: Paula Ventura
Locker room loan: National Classical Theater Company
Sound space: Roc Mateu
Video and subtitles: Oslo Albet
Movement advice: Maria Cabeza de Vaca Y Oriol Pla
Assistant director: Anabel labrador
Dramaturgy Assistant: Juan Miranda
Stage design assistant: Laura Ordás
Wardrobe assistant: Sandra Espinosa Y Ruben Martin
Russian translator and coach: Anastasia Kostyuchek (Pushkin Russian Institute of Madrid)
Photos web and banner: Kiku Piñol
Photos show: Claudia Serrahima Y Luz Soria
Photos poster: Luz Soria
Trailer: Barbara Sanchez Palomero
Poster design: SOPA team
Production: National Dramatic Center
In collaboration with Pushkin Russian Institute Y Accessible Theater
Maria Guerrero Theater, Madrid
Until March 21, 2021
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