You have to dive in the dark to see the light . You have to take off the blindfold to appreciate things as they are. We must give credit to that stubborn blind man who accepts the invitation of a "successful" woman to go up to a hotel room without knowing what he is going to face ...

Something more than twenty years ago he wrote Los ojos de la noche and Paloma Pedrero (Madrid, 1957) has a hard time recognizing herself behind that work - "written from the inside out" - which has arrived these days at the Cervantes Theater in London , in bilingual version and as an advance of the new season of contemporary theater.

Paloma Pedrero, celebrated as our most prolific author and represented on both sides of the Atlantic, looks back and goes back to the time when Ana Diosdado welcomed him and called her "companion" ... "She was the first , and I was almost the second, breaking through in the patriarchal culture that dominated our theater. "

"Women always had the feeling of playing in the opposite field , never in their own field," recalls Pedrero, who may have chosen the neutral field of the hotel room to put Angel and Lucia face to face, with their prejudices and with his stumbling blocks, with his meanness and with his vital doubts, with that blindness shared in full climax with the spectators themselves.

"Total darkness is the metaphor," writes Chris Omaweng in London Theater1. "There is a poetic justice in which it is a blind man who gets Lucia to open her eyes," says Michael Davis in Breaking the Fourth Wall. "A wonderful collision of two complex characters that reveal the multiple layers of the human soul," Margarita Shivarova appreciates in The Reviews Hub.

The London critic has turned to The Eyes of the Night , which closes in English on September 28 and leaves a deep mark on the peculiar song of the Cervantes Theater. Leyre Berrocal , with a long career in television and cinema, and Josema Gómez , from the Orozú Theater company, alternated on stage with Lanna Joffrey and Samuel Brewer (they are both actors with visual disabilities who got into Angel's skin) .

They were directed by an Australian, Simone Conxall, and they had the special translation of Catherine Boyle; Its mission was to "hold on to the text" and respect the silences and the dark . Jorge de Juan, who in November will celebrate his three years at the head of the Cervantes Theater, gave Paloma Pedrero a special welcome ( Ephemeral Love Nights, Fallen from Heaven, Ana on March 11 ) and justified the election of The Eyes of the Night for being one of his less interpreted texts and for his ability to break down barriers .

The second cycle of contemporary Spanish theater in London will continue with Run! , by Yolanda García Serrano; Stupid people , by Daniela Fejerman, and the theatrical version of The House of Spirits by Isabel Allende, signed by Caridad Svich, on October 28.

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