The theater of Milo Rau It is almost always a dramatization of reality, often based on real events, from which a political perspective on society emerges. That was the case Hate radio, about the genocide in Rwanda. It was Five easy pieces, about the Belgian criminal Marc Dutroux who kidnapped and killed children. He was Family, about the unexplained suicide of four members of a family in Calais. It was The reprise, Histoire(s) du théâtre, reconstruction of the homophobic murder of the young Ishane Jarfi. And this is it Medea's Children (Medea's Children) depicts the horror of the murder of five children at the hands of their mother in Belgium, a play that echoes the tragedy of Euripides. These are horrific stories that Rau treats from a certain documentary distance, but without skimping on explicit, yet far-fetched violence.

Unlike his controversial, harsh, and violent works, Milo Rau (Bern, 1977), one of Europe's most politicized theater directors, arrives in Barcelona with a cheerful affability and hardly any sleep. He has just premiered two shows at the Avignon Festival: the comedy The letter and a national event: The Pelicot Trial, a four-hour-plus performance about the trial of Dominique Pelicot and fifty other men, which took place in Avignon—the Pelicots' village, Mazan, is 40 minutes away. Before leaving for Italy on his personal perpetual world tour, he has two works at the Grec Festival: on Sunday at the CCCB he presented the film The new gospel (The new gospel, 2020), about the exploitation of immigrants in Italy, and this Monday at the Teatre Lliure in Montjuïc shows the brutal Medea's Children, a version of the Greek tragedy about a child murderer who slaughtered her five children in 2007 in Belgium.