Putting any classic in the hands of Josep Maria Flotats is always a guarantee. Much more if it is about Molière, who for the Catalan actor and director -trained at the Comédie-Française- is almost family (or a “close friend”, whom he could visit this Christmas). “The imaginary sick”, created for the National Classical Theater Company, is good proof of this. It is, go ahead, a magnificent show, full of sparkle and rhythm, very funny and entertaining, while – brand of the house too – elegant and careful.
Josep Maria Flotats (I hope I am not rude if I say that he will be 82 years old in January) is one of the greatest treasures that Spanish theater has. He is the great Renaissance man of our scene: a magnificent actor, a splendid director and a skilled version, and he shows this in this production. Together with Mauro Armiño, his regular collaborator of many years, he has told the story of the hypochondriac Argán with admirable cleanliness, balance and simplicity. For the staging, he has simply resorted to the best: Ezio Frigerio and Franca Squarciapino, who have turned the stage into an old engraving with costumes dominated by shades of gray, except for the final scene. A lot, a lot of class for a universal story, which appears to the viewer as a splendid antique piece of furniture after its restoration.
Furthermore, Josep Maria Flotats possesses a rare quality: he is capable of directing by acting. And in “The Imaginary Sick” he does. Not only does he fill his portrayal of Argán for real (he presents the cartoon with exceptional subtlety), with countless resources, but his attitude and his listening are exemplary and fundamental not only for the role, but especially for his castmates, who They take to the track with that magnificent safety net. Standing out above all (her role is facilitated) Anabel Alonso, proud and funny in her role as Tonina, the impertinent maid. And we must also underline the entity of actors such as Lola Baldrich, Joaquín Notario and Eleazar Ortiz.