Madrid-born playwright Juan Mayorga, born in 1965, returns to Avilés for a notable pulse point in his touring season. On March 10, just a short distance from the Palacio Valdés theatre where a dramatized reading of La colección recently took place, the Niemeyer Center will host a near-final performance of Amistad. This comedy, staged under the direction of José, unfolds as a dark meditation on death and knowledge and has drawn nightly crowds to Madrid’s Naves del Matadero since late January. The production features Luis García-Pérez in a leading role, joined by Mayorga alongside Daniel Albaladejo and Ginés García Millán. Mayorga is a frequent contributor to La Nueva España, part of the Prensa Ibérica group, and maintains a long-standing relationship with the Royal Academy, where he has served as a member and treasurer since 2019. He has also been honored with the Princess of Asturias Award in Literature.
Asked how José Luis García-Pérez came to direct the text of Amistad and how the director could refine it during rehearsals as the text evolves, the answer rests on Mayorga’s philosophy of ongoing development rather than finalization. He believes in continuing to refine his pieces after publication and premiere, inviting others to help him understand and rewrite them. A deep bond exists with García-Pérez, forged through friendship and a history of collaboration on projects like El cartógrafo and El mago. When the play is read and García-Pérez steps into the directing role, the conversation resumes, revealing new layers and shared discoveries. In Amistad, this collaborative spirit intensifies because the drama resembles a chess match where a single altered line or action can change the whole outcome. The writer often wonders how different lines would sound spoken by historical figures or other authors.
When asked whether the cast might address the playwright directly, Mayorga explains that the performers are extraordinarily mature, intelligent, and cooperative. They participate in the creative dialogue rather than merely following directions, offering insights that shape the work. A recent rehearsal phase highlighted this dynamic, with actors explaining their points and guiding revisions.
Describing his stance toward authority, Mayorga jokes about resisting a dictatorial posture. He emphasizes that the production thrives on a circle of friends who collaborate as equals. The three principal actors are highlighted as a remarkable ensemble, and the evident sense of friendship among them enriches the experience for both the audience and the creative team. That camaraderie remains a cornerstone of the encounter with Amistad.
Regarding the role of a philologist who might seek to correct a text like Amistad, Mayorga notes that the work is not fixed. Changes, tension, and the text’s ghostly presence invite curiosity among enthusiasts and scholars. Borges is recalled here, suggesting that a definitive work applies only to religion or sloth. The idea persists that his plays stay living pieces, open to reinterpretation and new readings.
On whether Amistad is a comedy, Mayorga answers with nuance. He does not categorize by genre; instead, the characters and their situations guide the tone. When readings began, some audiences laughed at the actors, yet the piece may resist a conventional comic label. Humor recurs in many of Mayorga’s plays, including Darwin’s Tortoise, Himmelweg, Fat and Skinny, Intense Blue, and Alexander and Anne, among others.
There is a playful respect in discussing the Hispano-Arabic literary tradition, with references to a laureate celebrated in Asturias. Mayorga smiles as he recalls a week filled with laughter there, acknowledging that some viewers still approach the playwright with quiet seriousness. The connection with Asturias remains strong, and Amistad reflects those community ties as much as the text itself.
When asked about potential collaborators who have shaped his work, Mayorga downplays personal claims and emphasizes his relationships with actors such as Albaladejo, García Pérez, and Ginés García Millán. He has collaborated with each on multiple projects, valuing the mutual influence they bring to performances. The shared history among the quartet is evident in their onstage chemistry and the way they support one another’s interpretations.
Did Mayorga attend rehearsals regularly? He explains that he did not sit in on every session, owing to commitments at his own theatre, the Teatros de La Abadía. A continuous dialogue with García-Pérez before and during readings kept the creative process alive, and Mayorga is pleased with the result the troupe achieved.
Criticism is part of the theatre life he embraces. He welcomes feedback and believes it can be transformed into positive learning. When faced with negative reviews, Mayorga finds value in the dialogue they generate and uses critique as a tool for enhancement. He notes that the play explores friendship, theatre, childhood, and death, and that revisiting the text through fresh eyes often reveals connections to his broader repertoire.
Mayorga recently observed a premiere at La Abadía, directing a production in tandem with Helena Pimenta and highlighting the work of George Tabori, an acknowledged master who remains influential in Spanish theatre. He regards this form of collaboration as exhilarating and essential to sustaining a vibrant cultural scene.
Looking ahead, Mayorga describes his next project, María Luisa, as the fruit of a conversation with a doorman who suggested a simple act could alter a person’s sense of companionship. This spark has set his imagination alight, and he expresses strong enthusiasm for the cast, including Lola Casamayor and Marisol Rolandi in key roles. The project promises a continuation of the dialogue between writer, director, and actors that has marked his career.
In sum, Mayorga’s work thrives on dialogue, collaboration, and a stubborn openness to revision. Friendship, theatre, and mortality weave through his creations, always inviting new interpretations and renewed curiosity from audiences and peers alike. The sense that art remains a living conversation, not a closed book, resonates across Amistad and beyond.