The mystery of the tarot cards in a too static and contained show

The title of the new proposal by Oriol Puig Grau, author of the celebrated Karaoke Elusia, I told the mystery behind the tarot cards. Specifically, this mystery refers to the Tower card, which is generally interpreted as divine wrath announcing catastrophe, chaos, and ruin. However, it can also have a positive meaning: to stir the person to get them out of their comfort zone and confront them with the world. The sixteenth number of the major arcana rises from the first interpretation. Oriol Puig Grau's work poses a kind of journalistic investigation into the history of an isolated house, struck by lightning. In the building, located on the outskirts of a town, youth used to raves, and it was inhabited by a mysterious Russian woman.

The journalist wants to write a report after seeing a strange photograph with some of the attendees. For this reason, she will organize interviews with one of the regular girls at the parties, with the former owner of the house, and with the daughter of a driver and magician who served the owner's parents.

As in a David Lynch script, the information opens up questions and creates a mystery with supernatural elements. The work functions well in the first two conversations, but in the third, the prominence of the driver-magician figure (and not just any magician, but a distillation of David Copperfield who makes people and even houses disappear) diverts the mystery in favor of uninteresting information for the plot.

The staging by the author is tremendously static, with a deliberately restrained direction of the actresses. Lluïsa Castell's solvency and stage presence stand out, but the direction is neglected, with details such as the impossible attempt to record conversations from three meters away, or the fact that the journalist says she has not visited the house in question. Consequently, she seems unaware of the rule of the reporting genre, which is none other than to go, see, and explain (this is important for asking questions to those involved). Nor does a baroque-looking stage space help, which is useless and attempts to evoke an unsettling atmosphere without achieving it.