“This story is a theater made for the death that is me,” announces the protagonist Last night with my brother in its beginnings. She e.g Nagore Oyarbide (Nuria Mencía), a single woman who was diagnosed with cancer in the last days. His husband Alberto (Jesús Noguero) is married to Ainhoa (Elisabet Gelabert) and they both have two children from different parents, Nahia (Ariadna Llobet) and Oier (Biel Montoro). Previously, Claudio (Cristóbal Suárez), Ainhoa’s brother, was an oncologist. Y, adémási, as it is given, it is time not to talk to her.
“The plot is the main part of this lost process and how Alberto will never accept it,” Alfredo Sanzol tells El Cultural about this work inspired by the real success. The idea for the title was inspired by the story of her friend who spent the night accompanying her husband a few hours before her death.
“That was just a detonator, but then I discovered it. the fight for the loss of a person is the one who is least socially accompanied y quise saber por qué”.
To solve this doubt, Sanzol talked for a long time with various people who had lost a friend. “Meet answers of all types fraternal relationships are very different from each other. You can be good or bad. There are people who have their own family and do not experience such a heated battle. What is certain, however, is that in very good relationships, the loss of one of them is really important for a person’s life.”
It confirms that this is the work we have done to face the death of the wicked man. “Last night with my brother You have to check it with basically two elements. Primera, scOur hope will vary, which is something essential to the movement of life. Even though it’s a big sentence, it’s the last one that sticks. It happens to oscillate as the disease progresses, changing color and shape”.
“Before grief, humor appears as a place of escape and an energetic space for burning impulses.” Alfredo Sanzol
The second, he says, is affliction. “How to manage grief is a great mystery. It is something that paralyzes. But it is at the moments when illness appears that we need action. As a counterbalance in the conversations that have appeared many times andthe use of humor as an escape point and energy space for burning impulses“.
This healing, repairing humor also filters through memories Last night with my brother. “I was worried about this topic because I didn’t want to do scenes with imaginary situations, I didn’t want to open it up. That’s why all the moments in which the humor appears are real. Y On that last night at work, which is the last part of the job, there are enough chaotic situations that are the most comical.”
Alfredo Sanzol, Nuria Mencía and Eva Carrera (assistant director, de espaldas), during the ensayo. Photo: Bárbara Sánchez Palomero
To give shape to these and other questions, Sanzol looked after Blanca Añón. On stage, use the person’s home in Nagore as the nerve center of the entire family. “Fellowship is also a crucial theme because it requires a restructuring of life and all bonds, and this creates conflicts, rocks and unexpected confrontations”.
Above the rear wall of this floor, a large gap opens into nature. A metaphor greater than pain focuses the gaze on the wound. “Inside this house we play with all the spaces – the street, hospitals, other rooms, Madrid’s parks… – Because it is a work that is written in such a way that the characters move around a lot.”
Another backbone of this scenic design is a sense of brotherhood. The work covers three types of leadership, explores the difference between blood and political ties and their different ways of relating, for better or for worse.
“Within our constitution, the social issue is essential. We live in a derecho state and society is a derivation of the republican principle of brotherhood. The latter, your problems, your fragility and your needs, are not ours, they are one of the things that come first now,” comments Sanzol, who is a question as a politician that affects the intimate.
Nuria Mencía in La última noche con mi hermano. Photo: Bárbara Sánchez Palomero
“Hermandad has a homeland like a childhood. There is a lasso of complicity and heredity created in it that is very deep, for good and for evil.” In this case, Alberto and Nagore, like Ainhoa and Claudio, came from the north of Spain and emigrated to Madrid for work when they were young. “It’s the last decade of the 90s,” he says, because they were over 50 years old, they had a strong influence on them. director.
At this point, he explains, he was interested in deciding how ideologies can break ties within a democracy. “The way families manage their ability to listen and tolerate different opinions is also a reflection of how they live in public life. I am interested in creating points between intimate and public life because I believe they are the same. These conflicts, for which there is no solution, are the basic material of my writing. Theater forces us to enter places where we don’t know the solution.”
There is also a generation guide. “I’m 72, I’m 53, and I’m at a point where you know the questions that come with the loss and death of those on the side. With Herman, he is an accomplice, a life companion”.
last night with my brother Co-produced by Centro Dramático Nacional and Teatre Nacional de Catalunya, it will run from February 13 to April 5 at the María Guerrero before touring to Pamplona, San Sebastian, Valencia, Seville and Las Palmas de Gran Canaria. You will be in Barcelona in October.
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