Carmen Machi’s presence draws a significant crowd in attendance every time she performs; in this case, at the Alicante Colosseum, to see the road play Nuestros Actos Occultos by the work’s director, Argentinian Lautaro Perotti. The plot develops along a journey through Elisa Sanz’s stage space, divided into three parts that place us in the present, six months ago and two years ago, representing a rupture in the dramaturgical and visual procedures of the staging. buildings. The result of a tragic event is a desperate car escape that serves to delve deeper into human relationships. We see that the daughter of a woman’s close friend has an alcohol problem and is sick. The two women don’t get along very well and they rain reproaches, but they need each other and intrigue, black comedy or social drama ensues. More than one genre in the same work. A physical and psychological route that takes us to the magnificent finale. The other two are Santi Marín and Macarena García, who host a kind of Yerma, a Lorca character who is a symbol of frustrated motherhood and the struggle for instincts, depicting repression and impulses that lead to crime. In Lautaro Perotti’s writing, the barren husband reacted violently when he learned of his wife’s pregnancy (the other man’s child), and she shot him to death. Carmen Machi shows her tone of sincerity and mastery of a not-so-glamorous role. Macarena García refers to controlled explosions. And Marín reveals his strict moderation. The police are hiding. First of all, it is a story with cinematic aspects, sustained by the actors. Despite this, the expectations are high from the enthusiastic audience that packed the Principal in Alicante and collected few nuts despite the prolonged applause, giving the impression that the piece is more than it actually is. Lack of dramatic interest, a certain coldness and diminished conviction.
