'Human Flesh': Josep Julien's wildest and most disillusioned work

Parenthood is an infinite mystery, especially in our times. A mystery that is usually not revealed until it is too late to turn back. Or is it? In the United States, in addition to public adoption, there is private adoption. The latter is much less regulated and gives rise to phenomena such as so-called private relocation, whereby children from the rest of the world adopted in the United States can be given away online or at meetings held by some evangelical churches to place young people who have been adopted and rejected by other families.

The new work of Josep Julien It doesn't exactly address that, but it's looming. It's a radical look at capitalist society where every need becomes a business, almost a denunciation of the dehumanization of a society in which everything is subject to being bought and sold. Josep Julien's theater is characterized precisely by having a critical undercurrent, whether universal or specific, of very human stories. We have seen this with Bonobo either The Night of the Kiwifish, but Human flesh It's the author's most outlandish and disillusioned work, even though it makes us laugh. A dystopia centered around a couple with a problem. Or two, at least. One is an ant infestation. The other is their son. The man (Santi Ricart) explains this to the audience, standing next to the Titanic model he likes to play with, while listening to classical music at full blast. We'll learn more when the wife arrives. And the wife (Meritxell Calvo) arrives like a storm, like a cyclone. They're having trouble with the child. And we can't explain any further because the solution to the problem isn't any of the ones we might expect.

Human flesh It's a short, fast-paced text that keeps you engaged until the surprising ending. Generally, it's well-directed, although in our opinion, the actress's energy and her rapid-fire delivery could be balanced.