Entradas el credito teatro maravillas

teatro amaya

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peter pan the musical theater wonders

A man goes to a bank branch to ask for a loan he needs to be able to meet his daily expenses and continue with his life. He has no collateral or property, but he does offer his ‘word of honor’ so that the bank trusts him to pay back the money. The branch manager rejects his request, something that will trigger an interesting conflict in which everyone will fight for their own interests.

The success of ‘The Credit’ perhaps lies in the fact that it is timeless. Many may think that this play deals with the crisis, the banks and everything that led our country to a terrible recession that for the moment has no expiration date. But this is not so, ‘El Crédito’ does not talk about the crisis, but about the vulnerability of the contemporary human being, lost in a sea of bureaucracy, all from a comic point of view.

Galcerán’s ability to transform into comedy themes that a priori do not lend themselves to humor, is one of the reasons why he has received the Ceres Award 2014 Best Playwright. ‘El Crédito’ has also brought him awards, the writer and playwright has won the First Catalan Playwriting Tournament.

galileo theater

It is one of the most seen plays in Madrid, and that’s a big word.  The credit celebrates its fourth season at the Teatro Maravillas and does so with a facelift as far as the cast is concerned. So far the play had starred Luis Merlo and Carlos Hipólito, but both have embarked on different projects, El test and La mentira, so names had to be renewed. Antonio Pagudo (La que se avecina) and Vicente Romero (Celda 211).

Everything revolves around a bank loan. Antonio goes to a bank branch in order to apply for a loan to get ahead. So far so normal. But the atmosphere becomes strained when the director of the branch, not receiving any guarantee of payment, decides to deny the loan, to his misfortune. Antonio, far from accepting it and leaving, confronts the director seeking the concession of his longed-for credit.

calderón theater

The tone of the play is tragicomedy. It takes a theme very close to everyone, that of the financial indebtedness of the average citizen and his dependence on bank loans, and elevates it to the absurd. There is a moderate scent of criticism of the banking system, but it is bearable even for the “establishment”. The length of the play is of Swiss precision. An hour and a half, enough to entertain, not to get lost in a plot that gives what it gives, and to end with a pirouette, which is what is expected to happen. The text almost seems to be from a French playwright. It could be pigeonholed in the genre to which works like “Arte” (Yasmina Reza) or “La banqueta” (Gérald Sibleyras) belong.    The author does not take risks, but if the play turns out well (as is the case), with a good distribution, international success is guaranteed.

However, what makes “El crédito” an absolute success (few plays boast of being re-released after two seasons), is the absolute complicity of its two performers, Carlos Hipólito and Luis Merlo, who are clearly enjoying this blockbuster to the fullest.

Museo estatal