Don Quixote’s spirit continues to produce ideas and feed imaginations four hundred years after he came to the world in that place in La Mancha that Cervantes did not want to remember. Of that spirit they have drunk Jose Luis Esteban and the team that makes up the long-standing Aragonese group Teatro del Temple. It is precisely the inhabitants of that emptied La Mancha town, whose name is not known, who weave episodes of the universal novel and put on a comedy that brings together realism of the present, doses of surrealism and, of course, the well-known fashion winks that they claim a certain feminism and some normalized homosexual brushstroke, with some forced moment such as the lesbian insinuation that occurs between the characters Marcela and Dulcinea. But all very well run, very normal and meaningful. Everything is understood.
The idea of quixoticizing empty Spain in the key of comedy is interesting in the work. To say that in some way we are all Don Quixote is to put on the tables the reality of a nameless people that is not willing to disappear forever. In this context of abandonment, poor communications, few services and few people, where the only heritage is having been the homeland of the ingenious hidalgo Don Quijote de la Mancha, they want to find a promising future in the apparent intention of the government to build a Parador de Tourism. The ability to dream of a better world arises in which you will get what you want: love, wealth, prosperity. Illusion is also lived, but not for long. In this game between the unreal of the Cervantes fiction and the no less fiction that the natives of the place create in their heads, the threads of a ball are entangled, among which the web of relationships between the different characters. In the comedy it turns out that the appearance will be quixotic, the reality will end up being the skeptical vision of the current world. Some adventures of Don Quixote are represented and others more typical of the disenchantment of any forgotten group in today’s world.
Don Quixote we are all It is an ingenious work in its approach and fun, entertaining and illustrative of Cervantes’ creation. It is evident that the scenic proposal has a clear objective of fun, something that it achieves with the mixture of the genius of Cervantes and the madness of Don Quixote to which it adds small doses of Berlanga’s ease, the Azcona language and surrealism of rope. And it is necessary to highlight the excellent command of the Cervantine language that the author of the text boasts. Nothing is what it seems in this sort of grotesque from La Mancha in a town where anything or nothing can happen. With these layers, a text is made in which there is no hero or single protagonist, but a group, with their philias and phobias, who claim their own survival with an impossible argument. Episodes such as the windmills, the galleys, Clavileño or the Montesinos cave, and those that relate the fragility of democracy, relationships between couples or the discovery of incipient homosexuality in adults are so important in the conceptual knot of the work. and adults. Both in some and in the other, on the water of fun and humor, the oil of a reflection not without irony and sharpness swims.
The choral, carefree, comic and crazy work requires a nuanced and rigorous direction of actors, which is what it carries out Carlos Martin, at the same time an actor, and an interpretation without oversights in which the protagonism is shared. All the actors and actresses -the two women leave the pavilion very high- carry out their roles with remarkable mastery, although perhaps they stand out, for their packaging and solidity, Jose Luis Esteban, especially in his role as excuse, and Felix Martin, highlighting the comic vis in his performance of the innkeeper Palomeque and Sancho Panza.
Live music from Gonzalo alonso It is a very significant element in dramaturgy due to its versatility and the contribution of very diverse nuances, underlining comic actions, creating special effects (for example, the wind that moves the blades in the episode of the mills), or accompanying lyrical moments or dances .
The scenographic elements, in contrast to the paucity that has become customary lately, make up simple but highly operational volumes for the development of the various scenes and to place the viewer in the different spaces in which the action takes place.
The Red theaters has taken a step further in its pandemic classical theater programming with this Don Quixote we are all, which was very well received by the public of the Toledo arena and awarded with long applause.