ALICANTE MAIN THEATER
In this production the stage becomes a mirror for the ordinary heroism and ordinary flaws of everyday life. The piece invites spectators to witness a journey through relationships, ambition, and the stubborn clinging to stability even when the heart pulls toward change. The setting uses the intimacy of a family home transformed through bright lighting and careful staging to explore how happiness can look different from one decade to the next. The dialogue moves with a natural rhythm, sometimes playful and others stark, never losing sight of the human need to belong and to be understood. The play examines not only love but the quiet acts of daily life that sustain it, from small promises kept to the compromises that keep a couple intact through time.”
of the Edward Galan Y Peter Gomez
Address: Joshua Ormaetxe
Regardless of the adverse circumstances, in your 20s there are high levels of happiness and expectations that decrease over time, reaching a low point in the early 50s. Still, there are studies that say they tend to increase after this age.
The stage narrative may echo the idea popularized by contemporary television about a life arc often called the happiness curve. On this Alicante stage, the central figure confronts a crisis in midlife, a moment when the self doubts whether the path taken will preserve what truly matters. He faces choices about companionship, fidelity, and the meaning of home. The tension arises not from grand gestures but from the pressure of everyday decisions that accumulate over years. In this telling, the protagonist weighs his desire for new experiences against the security of the life he has built, and the choice he makes resonates with audiences who recognize their own hesitations and hopes. The character’s decision becomes a hinge on which the play turns, revealing how a person can feel both liberated and trapped by the same set of circumstances.
It may be that, driven by sitcoms, the sitcom witnessed in Alicante’s Principle “The Happiness Curve” exposes the crisis of the 50s with the fragility of a man (in fact the weaker one). He left his wife to fulfill the desires he wanted to fulfill. Gabino is Diego.
Through a careful blend of humor and melancholy, the production follows Gabino, a man who acknowledges his missteps while resisting the urge to cast blame. The aim is not to condemn him but to understand how fear of losing the familiar can blur how one measures what is truly valuable. The cast delivers a convincing portrait of a person who has to decide whether to risk losing a great deal for a chance at a different life, or to protect the stability that has become a safety net even at the cost of personal growth. Diego, who embodies Gabino, navigates moments of doubt with a cadence that feels both precise and instinctive, reminding viewers that the line between folly and wisdom can be incredibly thin.
He intends not to sell the house as this will mean certain loss of the house he wants to be with and he will feel the necessary stability again. Some scenes that were meant to be comedy as well as dramatic. The difficult couple relationships, the search for love, and conflict also come to light, as Antonio Vico, the director of Jesús Cisneros and Josu Ormaetxe’s play by Eduardo Galán and Pedro Gómez, led to a movie with the unforgettable Pedro. Reyes and Yolanda Arestegui, who intervened in some episodes with her pre-recorded voice. Three other well-known translators accompanying the hero also participated in the film.
The production breathes new life into a familiar setup by layering romantic longing over the texture of shared memories. The actress and actor team brings warmth to scenes that could easily drift into sentimentality, grounding them instead in real, recognizable hesitation and hope. The interludes of humor punctuate moments of tension, offering the audience relief while never undermining the stakes. The ensemble work communicates a belief in second chances without denying the consequences of past choices. It is a performance that respects the intelligence of its audience, inviting them to reflect on what it means to hold on to a home while still letting a part of the self wander toward possibility.
Vico is a descendant of a famous actor saga in its long history who interfered with the legendary “Estudio 1” or the old “Sleep Stories” on television. The role of Gabino Diego, who saves distances, reminds us of the neurotic and psychoanalytic-obsessed tragicomic Woody Allen. Here’s the antihero who is a corseted idiot with his repetitive speaking style and earned a sales commitment with the trio’s components. Cisneros has an easier role.
The play’s visual language uses quick cuts and long pauses to build intimacy in each frame. The rhythm shifts as truths emerge, and the audience is taken through a sequence of revelations that feel both inevitable and surprising. The humor lands with surprising precision, balancing critique with tenderness. The director’s choice to weave in voices that frame the story from outside the core duo adds texture, offering a chorus that voices the shared cultural memory of relationships in a modern city. The result is a nuanced tapestry where comedy and consequence walk hand in hand, keeping viewers engaged from first scene to last.
The passages in each frame lead towards easy concessions, with some exceptions, and the final clever surprise comes after the generally unsettling moves that seduced the broad audience.