It is not a biographical work
Manuel Fraga is presented not as a straightforward biography but as a lens on a controversial figure who shaped Spanish politics and sparked strong opinions. The production Iribarne, created by Butaca Zero, explores a public life layered with power, media attention, and political drama. The piece is staged in Madrid as a co-production with the National Dramatic Center and the Ribadavia International Theater Festival, highlighting the reach of Galician theater beyond its regional roots.
The show is directed by Xavier Castiñeira and written by Esther F. Carrodeguas. It runs at the Valle-Inclán Theater in Madrid through November 12. Plans then move toward a Galician version for a northwest tour beginning in January, with performances in other ensembles including the Basque Country at the Teatro Arriaga in Bilbao. The author notes that specific dates for the tour are still being finalized.
The company characterizes the piece as a wild, energetic work. Music by Berto accompanies the performance, with some songs already available on Spotify and the remainder released as the tour progresses in Madrid. The choreography, imagined by Sabela Domínguez, blends walking dance with contemporary styling inspired by trap aesthetics. The creative team aims to move away from the music of Fraga’s era while keeping the focus on politics rather than personal life, using the stage to evoke moments from Fraga’s public years. The cast makes a deliberate choice to avoid resembling Fraga physically, preferring to place the political narrative at the center of the experience.
Esther Carrodeguas explains that the work is designed to speak to a younger audience while remaining accessible to older viewers who experienced the political transitions. The production is described as a demanding, ambitious project for a smaller company, yet the reception has been encouraging. Audience members consistently respond with standing ovations during the performances dating from the debut on October 12, which has provided the creators with a sense of validation and momentum.
It is not a biographical work
On stage there are six artists, including Carrodeguas, who bring various facets of Fraga to life across different moments and periods. The ensemble features Xurxo Cortázar, Jorge de Arcos, Mónica García, Anxo Outumuro, and Lidia Veiga. A brief scene touches on Fraga’s childhood and birth in 1922, but the emphasis quickly shifts to his political career. Personal life is kept minimal, with key political figures such as the King, Felipe Suárez, Pérez Varela, Rajoy, and Pujol appearing in scenes where multiple actors embody Fraga. Although the narrative traverses his life, it does not attempt to provide a traditional biographical arc. The creative team uses symbols from Spain’s prior era to anchor the portrayal, signaling Fraga’s character through visual cues rather than a literal recreations. The performers emphasize a dramatic interpretation rather than a documentary rendering, and makeup is kept minimal to avoid a literal likeness. The aim is to illuminate the politics of the years in which Fraga was active rather than to reconstruct his personal life with precision.
Several reviewers have described the work as a playful, almost satirical exploration. The ensemble acknowledges a strong sense of humor in the portrayal, inviting audiences to interpret Fraga’s life through a contemporary lens. The piece uses satire to provoke thought about political leadership and the media surrounding it, rather than to deliver a straightforward portrait of the historical figure. The decision to foreground political events over private details reinforces this approach, encouraging reflection on the era and its legacy.
“This is a very little comedy”
Whether audiences attend in Madrid during the current week or await performances in Galicia starting in January, they can expect a distinctly humorous experience. The production centers on how Fraga’s life has been interpreted and presented on stage, with a shared understanding that the work is a bold, entertaining satire. The creators warn that the show contains a generous amount of wit and irony, inviting viewers to engage with politics as well as performance art.
During the preparation period for the script, the author reported being overwhelmed by the wealth of information encountered about Fraga. The sheer volume of material led to ongoing considerations about future revisions for a Galician re-release and potential translation updates. Some portions of the script remain in Spanish to preserve clarity, while other sections could be adjusted. The team notes that additional documents and theatre pieces could have expanded the narrative, suggesting room for future exploration while maintaining the core focus on public life and political dynamics.
In summary, Iribarne offers a lively, thought-provoking take on a controversial era and its figures. It blends dance, drama, and music to create a promenade through history that feels immediate and relevant to contemporary audiences. The work stands as a testament to the vitality of Galician theatre and its ability to travel beyond its borders to engage diverse communities with a shared interest in political storytelling. The production invites spectators to think critically about leadership, memory, and how public figures are remembered in the collective imagination. The performance promises not only entertainment but also an invitation to conversation and reflection on a pivotal chapter of recent history. [citation: Butaca Zero]