Designed by Luis Garcia Berlanga, Executioner began as a rumor spun by a lawyer friend who relayed Berlanga‑style adventures. The lawyer was involved in a case touching murder and a woman’s death, where a sedative was administered and the execution ground was reached under heavy psychological weight. Through six decades since its debut, the film has remained a cornerstone of Spanish cinema, embodying a provocative inquiry into how rigid social norms—often unfair or cruel—can crush the individual. The work continues to spark reflection on the way societies organize themselves, a theme so resonant that Black Mirror revisited the narrative to caution about insomnia and the price of averting painful truths. In Spain, a fresh stage version is opening this Friday at the Teatro del Soho-CaixaBank, with performances scheduled for January 13, 14, 15, 20, 21, and 22.
Angel Calvente, the longtime head of the renowned Malaga puppet company, has long harbored a desire to adapt Berlanga since 2013. The project lay dormant for a stretch, resurfacing roughly two years ago, and he now takes pride in presenting the first puppet adaptation of The Executioner. He notes that gestural language on stage cannot reproduce cinema; the live format demands a deliberate orchestration of light and shadow to reach the audience. The ensemble believes they have found that balance in this production.
The development spanned approximately nine months for dramaturgy, followed by four months of patient, creative evolution. Fifteen puppets, and a mood inspired by Black Mirror, shape a theater piece that honors the source while placing it in a new dramatic arena. “A movie on stage would not work; I wanted a traditional show with strong drama where the stage itself moves and projections contribute as needed,” Calvente explains. The puppet operators—four artists including the director’s son Laín Calvente, José Vera, Carlos Cuadros, and Susana Almahano—are not hidden from view. They are the lifeblood of the production, and there are moments when they engage directly with the puppets in dialogue and interaction.
the living place
The core narrative follows Jose Luis, a funeral‑home employee who discovers love with a retired executioner and his daughter, a relationship that becomes a catalyst for personal upheaval. When Jose Luis seeks work near his father‑in‑law, the elder’s open vacancy and the fear of continuing the family trade shape his choices about marriage and home. The message extends beyond the ongoing debate about capital punishment, inviting audiences to consider how society pressures individuals and how status symbols can mask deeper dissatisfaction. The director asserts that a house and a floor can symbolize the cruelty of social judgment, and the struggle to live up to external expectations persists today. People chase symbols—cars, vacations, yards with pools—yet many remain unhappy, letting life slip by while worrying about others’ opinions.
Calvente recalls a teenage encounter with The Executioner, struck by the sheer force of the work. Decades later, he believes the classic version will still connect with contemporary audiences, including younger generations who wrestle with pessimism and loyalty to tradition. The story continues to breathe, reminding viewers that power structures place workers and the vulnerable at the margins and that resilience matters when facing collective pressure.
Ángel Calvente and Antonio Banderas, another duo
The Executioner marks the second collaboration between El Espejo Negro and the Teatro del Soho-CaixaBank space, a venue created and led by Antonio Banderas. Their prior collaboration, Cris, was celebrated as a bold, inclusive show about transgender experience that earned the Max Award for Best Children’s Show. A natural harmony exists between Calvente and Banderas, with Banderas inviting Calvente to realize his vision on stage. The director remembers that Banderas asked to partner after hearing about Cris, and he agreed to support the new stage adaptation as a faithful continuation of their shared artistic mission. The team at El Espejo Negro values having a cultural leader of Banderas’s stature engaged with their work and dedicated to their collective goals.