‘The good ones’ also have a dark side
Ramon Madaulabeyond being a consecrated actor, has spent the last decade building a solid career as a playwright. Has enabled for dramatic comedies, with family and power as the main thematic nuclei –The elected, Attached, Lost, The Brugarol-, and has also fabricated on historical episodes in works such as Buffalo Bill in Barcelona, Conquerors or The Buonaparte. Recently excited us with Loopwhich returns this season to the Texas space, and which explores the intergenerational conflict through the fears, reproaches and cross expectations of a father and daughter.
Now presents The goodsa comedy based on the tradition ofThe Pastoretsa squad of actors and vocations, to reflect with humor and irony about human nature. Despite not constituting an explicit tribute to the amateur theater, the play – directed by Paco Mir– It reflects the power and exceptionality of this phenomenon, which both Madaula and its distribution partner, also from Sabadell Jordi Boixaderasthey lived as spectators and, with a title by Rodolf Sirera, they inoculated the poison of the theater.
A comedy where kindness is tested
The action is located in the artistic circle of a village, where two friends of a lifetime – now quite distanced, for the reasons that the viewer will discover – interpret, year after year, two antagonistic characters. This year, however, the Narcís (Madaula), who always acts as Satan, will not be able to act to the Pastorets: he has just lost a court appeal and must enter prison. Thus, Esteve (Boixaderas), accustomed to interpreting the archangel Michael, will have to put in the shoes of the devil. Without pretending to be a moral fable, The good It raises the extent to which a person (auto) conceptured as good can lose the stirrups and “foolish” when he feels corner. “There are no good or bad,” says Madaula. We all have our hell, we can all sow dark.
Aiming of the conflict in a theatrical stage allows to “channel the hatred and grudge” through the representation. However, the mask – both of the wickedness like the one of the bonhomia – can end up devouring who carries it. The increasing tension reveals a game of strategy full of hidden motivations and that removes the worst of each one.
The playwright, who feels very comfortable in the field of dramatic comedy and does not renounce the entertainment, is characterized by making intensive and intensive use of irony, which allows “to make laugh and pinch at the same time”, as well as to point out very recognizable behaviors. Here he wanted to portray two men “slightly outdated” and with “Caracques tics”, which gradually show their more removal demons and moral misery. With his usual style – angry, agile, incisive -, Ramon Madaula puts us in front of a mirror not necessarily complacent.
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