Teatro en Vilo is one of the most active companies with the greatest personality. It is made up of Andrea Jiménez and Noemi Rodríguez, playwrights and directors who met a decade ago in London, where a company was born that has left such notable pieces as ‘Interrupted’ or ‘Generación Why’. As they themselves explain, Teatro en Vilo “pursues a constant dialogue with its social, political and personal environment, which forces it to constantly renew its scenic language”, and combine “the improvised and the choreographic, the grotesque and the autobiographical, the absurd humor and gestural comedy, tenderness and irreverence».

The premise of ‘Blast’, a work commissioned by the Centro Dramático from the Teatro en Vilo company, was to find “artists, activists and visionaries under the age of 26 with enough arrogance, hope and humor to believe that it is possible to change the world from a stage. And it is precisely this claim that weighs down a well-intentioned but frayed function, in which too many things are meant – there is talk of respect for those who are different, racism, the economic crisis, the future prospects of young people -, which causes dispersion and ends up giving the feeling that you don’t really know what you want to tell. (Current Spanish theater often sins -and not always with good results- of putting ideas, what it wants to talk about, before stories, what it wants to tell and how).

‘Blast’ is a performance created in the rehearsal room, with the experiences, energies and personal characteristics of the actors themselves. The story is a puzzle, a kind of ‘patchwork’ in which each one weaves their own story, which the directors are in charge of weaving together on that canvas that is the show. In this formula is the best and the worst of the function. The best thing is, without a doubt, the work of the seven young performers -Julia Adun, Nadal Bin, Conchi Espejo, Iván López-Ortega, Saúl Olarte, Álex Silleras and Alejandra Valles- who, apart from their promising quality, waste energy, enthusiasm and commitment. The worst thing is the aforementioned lack of definition and a certain feeling of disorientation in the show, on the other hand framed in a suggestive and striking set design by Alessio Meloni, originally dressed by Yaiza Pinillos and with magnificent music by Fernando Elpede.