The challenge that Àngels Gonyalons has in hand in the new show she premieres at the Grec Festival is so complicated that, before starting, she has a request: "I hope the audience turns off their mobile phones and the watches that turn green and seem like aliens in the stalls. It's a great acting challenge and a very delicate mental gymnastics, and I'm training a lot so that nothing distracts me, but...", she says, and asks theaters to invent a method for confiscating mobile phones before entering. The director of the Teatre Romea, Josep Maria Pou, believes it is "a lost cause". The actress resists: "There is a certain connotation of 'I paid for the ticket and I do what I want', and no: you are going to a very important and delicate ceremony, and there is a code, you are not in your dining room with a bowl of popcorn".

There are plays that are not easy to describe without revealing what the audience should discover throughout the performance. And this is one of them. An early work by the English playwright Dennis Kelly, author of some thirty plays and also of the libretto for the famous musical Matilda as well as the script for the film of the same name. In any case, we can say that After the end It falls into the subgenre of claustrophobic theatre, like that first success of Jordi Galceran (Chained words) or the Misery by Stephen King, which Sergi Mateu premiered at the Teatro Principal in 1999. In this subgenre, there's always a place you can't leave, either because they won't let you or because you can't. And, of course, a character with a certain imbalance.