A magnificent show: the definitive confirmation of Victoria Szpunberg

In the world of theater, there's a Shakespearean king's surname that isn't pronounced because it's unpleasant. I don't know if Victoria Szpunberg mentioned it during rehearsals for The third escape, but its debut at the National Theatre's Great Hall was threatened by a delay due to an actor's illness and, if that weren't enough, by the massive blackout on Monday during the dress rehearsal. despite everything, the premiere was a success like few others: it is the definitive confirmation of the talent of the Catalan author and director of Argentine origin.

A success with a work that lasts almost three hours without intermissions, in several languages, and yet operates over time with the smoothness of skis on snow. It tells the story of a family's life over a hundred years, a journey that goes from Ukraine to Barcelona via Buenos Aires without ever losing interest. A path marked by drama, flirting with comedy, and with an ending that will have audiences on their feet. Szpunberg has worked on the history of her family, but, more than individuals, the protagonists of this work are the collectives. Beginning with the Jews fleeing the Soviets in Ukraine at the beginning of the 20th century, continuing with the Argentines fleeing Videla's dictatorship, and ending in sweet Catalonia. For all of them, the author has a look between tender and ironic that accentuates the characteristic features of each one without ignoring the background of the mortal drama that haunted her family.

Depth and lightness, seriousness and humor, and above all, agility mark this proposal. Death and tragedy—evoked in Verges' dance of skulls—announce the beginning with the beat of a drum. Music is a resource wisely used by the director, who, in the Buenos Aires scene, does not renounce the Swap by Enrique Santos Discépolo. Music and humor in abundance. Fantastic Carles Pedragosa —Jordi Oriol's regular musician and already featured in the author's previous work, The weight of a body—, now throwing the word comic into some hilarious transitions of the show.