political show here with Josep Maria Pou in the newspaper of the writer Roald Dahl

The spectacle is therefore unlikely to go unnoticed, even in the current era in which the conflict with Iran polarizes public and private conversations. But the defiance of its author is admirable, Mark Rosenblattto build a play on such a complex subject with an honest amalgamation of opposing political arguments and such entrenched positions.

Everyone who goes to Teatro Bellas Artes will meet you a little dialectical exercise of thought in this spectaclebased on the true life story of the famous English writer Roald Dahl and supported by fleshly people and in a family environment. The theater of ideas that he shares with the desire to be interpreted by the admirable Josep Maria Pou in the scenarios at the age of 82.

This is his debut as Rosenblatt’s playwright – with a long career as a theater and film director. Nothing about experimentalismon the contrary: it’s a piece of classic dramatic architecture very West End-flavored, and I’ll tell you, it’s very well done in its lines and counterlines and its well-rounded characters.

It premiered in London in 2024, starring Elliot Levey, and won three Olivier Awards, including Best Playwriting and Best Actor; now represented in New York. Compared to the Spanish production directed by Josep Maria Mestres, he arrives in Madrid on his way to Barcelona.

Pou gives life to Roald Dahl, a defiant old man who is still very active and bright, ironic but also with a bad mood that leaves him with a satirical humor that reveals his stories and these nice photos in which he is pleasantly seen with a perrite in his arms. Of course, the work, a mixture of fact and fiction, is a controversial and despicable story that Dahl experienced in 1983 when he was about to write the book Las brujas For this reason, I published a review of another book They accused him of being anti-Semitic.

Our set design is translated into a single space, the large living room of the house being worked on – the writer is reshaping it – where they are overseen by a team of writers (Victòria Pagès) and an English editor (Pep Planas) to deal with this premise that confuses the beginning of the story in the next book. Fear that many booksellers refuse to sell it and they hope to join New York editor Jessie Stone (Claudia Benito) to develop a crisis plan with the author.

Giant it repeats multiple themes we assume and jumps from one to another in unexpected dramatic plays and twists. Without a soul to do spoilersin the first act we believe that it is freedom of speech that is in life when The editors of the author suggest that they should publicly forgive for public review, the vehement and proud Dahl denies (I wonder why his heirs would turn away from his tomb and affirm that they can give his childish words anything that sounds politically incorrect).

We end the act with a harsh polemic between an American publisher – of Jewish origin – and a writer, who allows Dahl/Pou to take the torch and demolish the colmillo, with which Jessie Stone/Claudia Benito’s forceful response to the distance that separates the Israeli-Palestinians can be eradicated. The subtlety of these dos is a challenge for essay debate (the shadow exceeds up to an hour).

In the second act, the tense environment set up by the debate between the tertulianos is palpable, the swords continue high and they continue with the resolution that Dahl will return to his editors; No embargo if Cruzan touches the character of the characters and other themes and ideological hints stick to the plot. For example, the relationship between a work of art and the ideology of its artist. Do we stop reading Dahl’s wonderful and entertaining stories to expose his anti-Semitism and his bad temper?

As long as you’re interested, wait for the surprise to unfold in the media. Mestres is a director who puts himself at the service of his actors: the professionalism of Pou and Benita is complemented by the very convincing Pep Planas and Victòria Pagès.

From an ideological point of view, e.g very much a work of Broadway tasteit seeks the acceptance and understanding of non-Jews by offering a version of those Jews who distance themselves from Zionism and the current policies of the Israeli government. Rosenblatt – a Briton of Jewish descent – ​​offers us a vision of a similar diaspora in his own country, but essentially in the United States, where he publicly supported the Muslim Zohra Mandani as mayor of New York.

The United States has the majority of the world’s Jewish population, about 8 million, while Israel has a similar number, essentially descendants of the European Ashkenazi diaspora. They have other important communities in France, the United Kingdom and Canada, but less so.