Celebration of a New Season
The Sala Versus Glòries hosted a special night yesterday, marked by a toast with cava for the third season of ‘Angle Mort’, a play that has captured the public’s attention with its witty narrative. This comedy, created by the duo Roc Esquius and Sergi Belbel, has been recognized with the award for Best Proximity Show at the IV edition of the Barcelona Theater Awards.
An Ingenious Theatrical Mechanism
While enjoying the function, I could not avoid the curiosity to discern which of the gags came from the sharp Sergi Belbel and which were the work of Roc Esquius. ‘Dead Angle’ is presented as a meticulously designed theatrical device, which explores the dynamics of vaudeville, breaking with traditional expectations.
A New Perspective on the Stage Space
Unlike classic vaudeville, which often shows us actors entering and leaving the stage without knowing what is happening out of sight, this play gives us a complete view of the actions inside and outside the office of Andreu, a director of a start-up struggling with financial difficulties. The separation between the spaces is symbolic, represented by a line drawn on the floor that marks the border between the office and the waiting room, with an imaginary door that alternates attention between the two areas.
Characters that Reflect Labor Unrest
Ramon Godino gives life to Andreu, a manager who combines a friendly attitude with a background of cynicism. Its three employees, each with a well-defined personality, bring to the stage a rich variety of reactions to the impending labor crisis. Carles, played by Antonio del Valle, is an accountant with a tendency towards histrionics; Beatriu, by Rafaela Rivas, represents vulnerability and strength; while Diana, played by Berta Bahr, brings a disruptive energy with her abilities to challenge authority.
Theatrical References and Influences
According to Jaume Forés, ‘Angle Mort’ evokes two emblematic works: ‘The Grönholm Method’ by Jordi Galceran, which addresses the tensions of a job interview, and ‘Forward and behind’ by Michael Frayn, which presents parallel situations. lelas Esquius and Belbel have managed to merge these elements to create a new proposal that explores labor unrest with an intriguing structure and a succession of gags that make sense as the plot progresses.
A direction that surprises and captivates
The direction of Lluís Elias stands out for its commitment to the histrionic tone, which can be disconcerting at first, but which proves to be effective as the play develops. The 100th feature will take place on August 22, but viewers can enjoy ‘Dead Angle’ until September 22 at Versus Glòries.