Deucalion dreams of going to Mars, speculating on that distant planet and returning as a hero. Pirra, like her mother Pandora, is an explorer and dreams of digging up and resurrecting the history that sustains us and then live peacefully on the hump of our mother Earth. He knows he has to keep conquering. She knows that, in the depths of time and on distant Olympus, a vessel keeps the philosopher’s stone of Hope and she is sure that by rescuing it, she will relax Zeus and his vengeful lightning. Thus we will rest from all the punishments that beset us today.

Talia, the Muse of comedy, feels inspired by this couple and sees a way to take revenge on her sister Melpomene, the Muse of Tragedy, who terrifies humanity and also always reaps success. Talía goes down to the arena to breathe her version of events into the young people, she manages to get them in a car and take them to Olympus. Here they come across magic, the most difficult game yet, entertainment, tension and everything necessary to change history; always with the help of her mother, the Muse of Memory, and her father, the mighty Zeus.

The story is always the same, because it is written about the deeds of a hero from the eyes of a poet, from the soul and bowels of the artist, and inspired by the Muses of Olympus. Here Zeus, the immortal cloud-gatherer, still rules and has sent men the best of gifts, women.

Every explanation, with its prejudice or veneration, is part of the imagination, the subconscious, the legend. Everything is fiction and true at the same time. Put disbelief aside and enjoy a comedy integrated with dance, circus and a magical universe.

The story of Oedipus and Jocasta is a universal story that seduces and moves us because we identify with its fragility, daring, ignorance. It makes us reflect on the essential questions for which we still do not have answers: are we masters of our destiny? Who or what intervenes in our lives? Are the events that happen to us caused by our actions, by chance or by divine whim? Oedipus and Jocasta are a mirror in which to look at ourselves: defenseless beings, unconscious of the consequences of their actions, convinced of possessing the true gaze.

We start from an ancestral, rural society, with a simple social structure, he and she govern, a people with their own voice, shepherds, messengers, fortune tellers. Music takes us to that telluric world of voices, percussion, melodies that emerge from the earth, from the roots. The stage is an agora with tiers presided over by the main entrance, which leads to the core of power, the family, the mystery.

Six actors on stage and a live musician are responsible for giving new life to this timeless work.

Duration: 75 minutes.
Recommended age: over 12 years old.

This is a brutal story. The story involves real people who existed and crossed paths in the streets. In the first years of the 1st century AD, the Romans continue to invade the lands that surround the Mediterranean. They give power to monarchs, savage dictators, to subdue the people. They arrive in Judea only to meet princess Salome. She secretly supports the rebels who resist the rule of the corrupt puppet King Herod. Even though the king is appointed by Rome, he is a man without morals and rules without law.

John the Baptist, a spiritual leader of his people, cries out against the invader and becomes a captive in the prison of Herod’s Palace. He gives life to a new time. He is a Prophet. He says that hope is the breath of all dreams, and ignites the princess’ desire.

Salome yearns desperate for her beloved John the Baptist. Rejected by him, she transforms into a bleeding woman. Salome is the expression of Absolute Sensual Power and exalts her desire for John the Baptist, before overflowing in death.

Love and death live in a permanent embrace, and Salome crosses the red line that leads her to delirium. Egged on by her mother Queen Herodias, she dares to ask her stepfather, the King, for the head of John the Baptist. Herodias is a woman used and abused by power, a woman in need of freedom. She is floundering in a land of repression that ignores and stones women if they abandon strict morality. She drags herself through an impossible life wrapped in sex, alcohol and delusions.

And above there is Sirius. That star, the brightest in the sky, is a sign of life on a planet that is destroyed from war to war and from god to god. Wars waged by the Herods of today. Yesterday and today at the same time. Sirius, that pure energy that can transform us.

And below, in the depths of the sewers, are the Guard of Moral and Order, an excrement of power that insists on protecting the country from ignorant and vicious women. They cover their bodies with veils, leaving them without existence.

Sex has the power to move the world, love it and destroy it. That power is called Salome.

Magüi Mira

Duration: 90 minutes.
Recommended age: Over 14 years old.

The myth of Electra belongs to the Troy cycle. Within Greek Tragedy it is the only one that preserves the versions of the three great poets of Antiquity: Aeschylus (within Coephoras), Sophocles and Euripides. The starting point of the original text and the one addressed on this occasion is the Electra by Sophocles, as well as the Elektra of the version that Hugo von Hoffmansthal made for Strauss’s opera. Electra is one of the seven tragedies that have come down to us from Sophocles and among them it is recognized as the most perfect and clear of his works in terms of structure; For its part, the Hoffmansthal version, presented here, introduces a fast-paced and dizzying ending. Electra served as a reference for the writing of another of the great text of universal theater, Hamlet, since W. Shakespeare started from the same premise of a mother and her lover who murder the father of the protagonist and triggers the desire for revenge of the latter.

The central theme of the work is the spiral of violence (death-revenge-death) that is perpetuated in the Atridas’ house. Revenge is the main leitmotif of the different versions of the work, one of the great evils of humanity, which two thousand five hundred years later continues to cause great tragedies and calamities on very different scales, from the domestic to the planetary; and above all a question to the viewer: “what would you do in that case?” Emotions and questions are the objectives of theater and in Elektra they are expressed in a prodigious way.

The myth of Electra belongs to the Troy cycle. Within Greek Tragedy it is the only one that preserves the versions of the three great poets of Antiquity: Aeschylus (within Coephoras), Sophocles and Euripides. The starting point of the original text and the one addressed on this occasion is the Electra by Sophocles, as well as the Elektra of the version that Hugo von Hoffmansthal made for Strauss’s opera. Electra is one of the seven tragedies that have come down to us from Sophocles and among them it is recognized as the most perfect and clear of his works in terms of structure; For its part, the Hoffmansthal version, presented here, introduces a fast-paced and dizzying ending. Electra served as a reference for the writing of another of the great text of universal theater, Hamlet, since W. Shakespeare started from the same premise of a mother and her lover who murder the father of the protagonist and triggers the desire for revenge of the latter.

The central theme of the work is the spiral of violence (death-revenge-death) that is perpetuated in the Atridas’ house. Revenge is the main leitmotif of the different versions of the work, one of the great evils of humanity, which two thousand five hundred years later continues to cause great tragedies and calamities on very different scales, from the domestic to the planetary; and above all a question to the viewer: “what would you do in that case?” Emotions and questions are the objectives of theater and in Elektra they are expressed in a prodigious way.

Duration: 1 hour and 15 minutes.

The story of Oedipus and Jocasta is a universal story that seduces and moves us because we identify with its fragility, daring and ignorance. It makes us reflect on the essential questions for which we still do not have answers: are we masters of our destiny? Who or what intervenes in our lives? Are the events that happen to us caused by our actions, by chance or by divine whim? Oedipus and Jocasta are a mirror in which to look at ourselves: defenseless beings, unconscious of the consequences of their actions, convinced of possessing the true gaze.

We start from an ancestral, rural society, with a simple social structure, he and she govern, a people with their own voice, shepherds, messengers, fortune tellers. Music takes us to that telluric world of voices, percussion, melodies that emerge from the earth, from the roots. The stage is an agora with tiers presided over by the main entrance, which leads to the core of power, the family, the mystery.

Six actors on stage and a live musician are responsible for giving new life to this timeless work.

Recommended age: from 14 years.
Duration: 1 hour and 20 minutes.

Cassandra or the Praise of Failure is a show somewhere between contemporary chamber opera and theater. This montage delves into the life of the mythological character of Cassandra, known for her prophetic gift, but also for the cruel punishment she received from Apollo: the curse that no one would believe her predictions.

In the montage we work on the myth, relating to it from a contemporary perspective, comically exploring its relationship with the concept of failure and framing it in a dream world: Cassandra, trapped in the underworld, recovers her prophetic gift and wants to return to the world of the living, to warn them of a great catastrophe. Despite knowing that this is a place where her warnings and apocalyptic visions will undoubtedly fall on deaf ears, Cassandra will try by all means to get out of the underworld to fulfill her mission. Despite the various impediments that she will encounter along the way and the challenge to the gods that this entails, Cassandra will decide to persevere in the attempt to be heard to help the human world.

She will not be alone in this decision. She will be accompanied by Patti, a veteran muse, and Britney, a young student, sent directly from the School of Muses. In her chaotic attempt to leave the underworld they will encounter, among other difficulties, the ferryman Charon, the Can Cerberus (mythological monster that guards the doors of the underworld) and of course, the wrath of the gods.

As the narrative progresses, the viewer will discover the character of Cassandra and her companions, and their different visions on topics such as failure, meritocracy, collectivity or love, thus reflecting on different themes from multiple prisms, different realities and times.

We will reflect on the past but also about our future; Let us ask ourselves who the contemporary Cassandras are or the importance of social credibility when it comes to a message being heard.Cassandra or the praise of failure invites the public to reflect on the past to understand our present. Through the meaning of failure in human life she shows how different philosophical perspectives and poetry can shed light on our personal struggles.

This comedy tells the story of Lisístrata Montoya, a gypsy from the Sacromonte neighborhood (Granada) who summons her cousins to combat an evil that worries her: racism.

Far from finding a quick and forceful answer, Lisístrata Montoya realizes that each of her cousins has other concerns among which is not making any revolution.

An oath and the help of one of them will make them all unite to eradicate the racism that stalks the gypsy people.

Inspired by the classic work of Aristophanes, its author, Coco Reyes, in turn recounts several macabre passages of the historical persecution of gypsies that have caused many of the prejudices experienced by this ethnic group.

Laughter, emotion, tension and spontaneity are some of the elements that viewers will find in this unique play.

Recommended age: all audiences.
Duration: 1 hour and 5 minutes.

“All my works, including Barabbas, and the one before it, Your Sure Servant, Orson Welles, deal with moral dilemmas.

Barabbas tells the story of a man who, against all odds, life gives him a new opportunity, after which he will dedicate himself to making peace with himself and his circumstances and will look for a worthy cause to commit to. 

Although set in biblical times, Barabbas is above all a testament against any world led by tyrants – whether Romans or more modern-day equivalents like Hitler and Trump. In this type of scenario it falls on the individual responsibility, as in the case of Barabbas, to find values worth living for, even if the attempt fails. There is no greater sin than surrounding oneself with those forces that are always aligned against the morality of the free exercise of developing self-awareness.

Barabbas narrates the life of this Jewish fighter against Roman oppression, a close friend of Judas. His life runs parallel to that of Jesus of Nazareth, the Messiah, whom he knows and has given protection from the shadows. Barabbas, the wolf, is a man with a dark past, a murderer, a cynic who does not believe in talk or the supposed miracles of Jesus of Nazareth and whom he blames for the abandonment and death of his great friend, Judas Iscariot.

Richard France

Recommended age: from 16 years.
Special notices: strobe lights.
Duration: 1 hour and 20 minutes.

5th century BC.. In Rome, democracy barely appears as we know it today. There is a food crisis due to high wheat prices: inflation. The people want to eat. A strike, a revolt, takes place, pitting patricians and plebeians in the streets, and their representatives in the senate.They have to choose the consul. The patricians propose the conservative Gaius Marcius, young but a military expert who hates the people. However, he needs his votes, he has to ask for them, beg for them, as a necessary step to be proclaimed Consul. A battle promoted by the Volscians against Rome is defeated by Gaius Marcius at Corioles. Gaius Marcius is now Coriolanus. He has won the battle of Corioles, but the political battle of Rome is over. Class struggle, the price of food, inflation: the validity of this text is extraordinary.

Shakespeare (1564-1616) copies the plot of Plutarch (350-432 BC)—sometimes literally—to compose Coriolanus, that is, he invents something already done, establishing an anachronistic dialogue between his before and his today. Likewise, this work is unthinkable without Machiavelli (1469-1527), one of whose maxims was that “the best strength of a ruler is not to be hated by the people,” and whom Shakespeare undoubtedly knew/read. On the other hand, our present dialogues with Shakespeare permanently. Finally, in 1605-8, the approximate years of Coriolanus’s writing, England was in the throes of a major political and economic crisis. The price of food has skyrocketed, the kingdom’s coffers are empty due to the wars with Ireland and the popular social classes emerge and rebel. With this breeding ground we drink from Shakespere, from Plutarch, from Machiavelli, we dialogue with him, with them, we try to imagine how Shakespeare would rewrite his Coriolanus today, and we do it immersed in our current times, in the validity of the text, and with similar motives. : try to understand/understand us better. Obviously we focus on the political plot, from the military plot we extract what intervenes in the future of the political plot. And we make decisions from our today that make the contemporaneity of Coriolanus overwhelming. We do nothing different today from what Shakespeare did yesterday: dialogue from the present with the past. Hence the title: Coriolanus, after William Shakespeare.

Calderón de la Barca has the ability to subjugate us with complex, deep and enigmatic characters, who create atmospheres around them that are impossible to understand from the poor perspective of reality. Perhaps Calderón is the golden playwright who descends the most into the depths of being, the one who most in combat places the character in front of his deepest and most unspeakable fears and longings.

Following this idea we have wanted to approach characters from the Calderonian world who are placed on the threshold of the human, the real and the natural, that is, close to the extraordinary, the prodigious and the monstrous. Monster, a fantastic being that causes fear. Being that presents anomalies with respect to its species. That which is excessive. Monstrous is extraordinary. Calderón, in many of his works, places one of these monsters as the protagonist, sometimes accompanying them with prophecies that announce, before his birth, that they will be the culprits of a fatality. That is why other humans lock them up, hide them, thus preventing the world from the evil that their freedom would cause them. In this piece, based on texts such as The Daughter of the Air, The Monster in the Gardens and The Greatest Monster in the World, and with echoes of other characters such as Segismundo, from Life is a Dream, we ask ourselves if they are not fear, repression and, ultimately, violence the true parents of these monsters. On stage Semiramis, Achilles and Herod, three monsters belonging to these three works by Calderón, will tell their stories from their point of view. Thus interweaving narration in the voice of the characters themselves, and scenes from said works. These are three journeys that go from prison to freedom. From deception to knowledge of identity. From love to the most absolute perdition. Perhaps, you will understand why one day, in a world of humans, you woke up caged like beasts. Why are they feared? And why fear caused them to lose what they loved most.

Recommended age: from 16 years.
Duration: 80 minutes.