A Key Monologue with an Unexpected Twist
In Shakespeare’s universe, few texts are as iconic as Hamlet’s “To be or not to be” monologue. Every actor-in-training has at some point faced the need to master these emblematic words, making this fragment a real touchstone in their career. But, when Guillem Albà decides to approach this classic, his approach promises to be anything but conventional.
The Fall and the Dialogue With the Absurd
The moment Alba falls from his methacrylate pedestal marks the beginning of an exploration that goes beyond the simple homage to the Shakespearean character. Here, his relationship with Death, represented with absurd humor by Aitana Giralt, delves into deep and philosophical questions: why choose to be an actor? This interaction between the artist and Death not only seeks to make people laugh, but also provokes a sincere reflection on Alba’s own life and choices.
An acid Comedy about the Actor’s Profession
The narrative that emerges is not merely a chronicle of the art of clowning, but an analysis of Alba’s yearnings for change, interwoven with a sharp and light-hearted critique of the show business. Death opens the scene smoking and eating sushi, becoming a character who challenges expectations about what it means to face the absurdity of existence.
Reflections on the Comfort Zone
As the play progresses, Alba’s internal struggle to break with his comfort zone becomes evident. However, the innovation he seeks may not be as radical as it initially seemed. Its strength lies in the ability to balance text, gesture and silence, with a focus on laughter and emotion rather than rupture.
Memoirs of a Mentor and Vital Advice
A shocking moment of the play is the appearance of Jango Edwards, Alba’s mentor, who brings an emotional touch to the stage with his phantasmagoric presence. This intervention contrasted with voices that warn him about the demands of his profession offers a complex portrait of the pressures that surround the show business.
An Hour of Comedy with Deep Reflections
With a duration of one hour, the play chooses humor as its main vehicle, but leaves a feeling of incompleteness. Albà, well accompanied by the dynamic Aitana Giralt, offers a solid performance; but the need to be more incisive in his personal criticism of the precariousness of his profession seems an underexplored path.
A Future of Possible Nonconformities
The comparison with Jordi Oriol’s brilliant Hamlet is inevitable. If Alba allowed himself a more open dialogue with the original text, perhaps he could discover a more poignant humor, resurrecting the vitality of his comic legacy with a new look. This vital leap could be the key to his next stage as an artist.