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Pau Carrió pampers the staging of ‘Classe’, a play that very naturally tackles issues related to education and social extraction
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The good work of Pol López, Pau Roca and Carlota Olcina, interpreters of the piece by the Irish Iseult Golden and David Horan, underpins a montage that never decays
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The people of Sixto Paz have been acting under uncompromising guidelines: small-format theater but long gaze. Not only because of the search for new formulas for relationships with the public, but also because of fleeing the beaten path in their proposals. Among his lines of work is, for example, paying attention to little-known Anglo-Saxon playwrights. They have returned to that path with ‘Classe’, by the Irish Iseult Golden and David Horan, a text in which issues related to education and social extraction go hand in hand in the right way. This is one of those work that naturally invite post-performance reflection. He achieves it with three good characters, led by three very solvent interpreters, and a well-drawn conflict.
‘Classe’ introduces us to a primary school teacher (Pol López) who has summoned the parents (Pau Roca and Carlota Olcina) of a student to propose a reinforcement class for their son. We are in a school on the outskirts of Dublin, but it could also be in a city like Barcelona, Madrid or Paris. Because there is no localism in ‘Classe’ but a universal conflict that transcends any geographical narrowness.
What seemed like a meeting without more little by little turns into a storm. Because Professor McCafferty has as much good intentions as he is clumsy when it comes to putting things together. He is so careful, so cautious, that this attitude it only manages to arouse suspicions in its interlocutors. They are Brian and Sarah, whose married life has collapsed, and today they only want the best for their son – like any father or mother – but also with the idea that he will not make the same mistakes in the future.
Three plot plans
Pau Carrió pampers the staging of a piece that moves in three plot planes. That of the vocational teacher who leaves the comfort of a school in the center for another in the more conflictive periphery in which he is going to take more than one disappointment. That of a couple from that neighborhood who survives as best they can in an environment where the social elevator does not work. And finally, that of little Jayden and his partner Kaylie with whom he shares reinforcement classes. A minimal change in lighting allows you to pass from the encounter between adults to those moments of intimacy at school between two children.
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A piece like ‘Classe’ always flows, with a scenography that cannot be more scholarly, because everyone seems to be very comfortable in their role. López, a winning card in any cast, expresses all the doubts of a teacher whose vocation will be threatened, not to say ruined. Roca also shines high as a rough and willful neighborhood dad, with a ‘hooligan’ look, almost arousing compassion. While Olcina, with whom Roca already made ‘Pulmons’ (Another gem of Sixto Paz), once again reiterates that she is an actress of extraordinary talent who can do anything. It has ‘Classe’, therefore, the right chemistry so that nothing squeaks.
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