Lluís Soler raises the temperature of 'The Tempest'

Oriol Broggi fell from his horse in 1993 at the Avignon Festival in front of The Tempest From Peter Brook: "I liked it so much that I decided to dedicate my life to the theatre." Brook's influence has permeated many of Broggi's works. Storm: not only in the material elements, such as the everlasting sand floor, the wooden canes, the details of the costumes, I would say also the choice of Babou Cham for the ethereal role of the spirit Ariel or the unleashed energy of the slave Caliban, but for the aesthetic textures and the cadence of the scenes, which kick off with a brilliant shipwreck scene that makes a virtue of extreme simplicity. Pure Brook.

Broggi's vision stands out in the whole, in the atmospheres, in the music that punctuates the performance. Shakespeare, in his last work, wanted to give a more optimistic vision of the human being, as is evident in Gonzalo's monologue in which he dreams of a biblical paradise and in Prospero's renunciation of revenge in favor of forgiveness. And this is well reflected in Broggi's proposal, which has taken care of the plastic and sensorial details more than the literature and has enhanced the humorous features, of which there are many, of the work. However, it must be said that I had never attended one. Storm with so much laughter and the proposal is somewhat flat, without dramatic reliefs and with diction problems in some scenes such as the dazzling entrance of Caliban or the scene of the clowns.

To make a good StormYou have to have a good Prospero. Luis Soler is one. A Prospero who's more human than magical, with precise diction, clarity, and purpose. (Ferran)