the american actor john malkovich headlines a one-of-a-kind show featuring a live string orchestra on august 11 and 12 in madrid, where he portrays jack unterweger, a notorious serial killer. the performance is described as an act of bold storytelling, with malkovich explaining that he never feels close to the characters he represents, treating their journeys as a matter of artistic examination rather than personal endorsement.
in a frank presentation, a spanish theater figure noted for earning the donostia award at the san sebastian festival in 1998 spoke about the event scheduled at the conde duque cultural center as part of the veranos de la villa festival. the show blends rigorous acting with live music, inviting audiences to witness a meticulously crafted depiction that invites reflection rather than simple sympathy or judgment.
comedy of hell. confessions of a serial killer is directed by austrian filmmaker michael sturminger. the work revisits the real-life figure jack unterweger (1950-1994), who chronicled his crimes in writing. its development traces back to a first staging in vienna in 2009, where the concept began to take shape as a thought-provoking study that crossed borders and genres.
unterweger came to be known as the prison poet, a label tied to his autobiographical writings and poetry that found welcome reception among german-speaking intellectuals. after being released on parole in 1990, further inquiries ultimately led to renewed confinement, and in 1994 he died by suicide in his cell after a life sentence for the murder of nine sex workers.
malkovich speaks about his approach to playing this complex figure, saying that there is nothing inherently wrong with portraying characters who are not heroes. he repeats the stance that he does not approve or disapprove of his characters; it is a professional matter, a decision about art rather than personal belief.
i never feel close to the characters i represent. when asked about the moral weight of violence, malkovich notes that confronting death on stage isn’t about saving anyone, and unterweger’s aims never aligned with redemption. the writers of the piece, he adds, framed the exploration in terms of human psychology rather than moral verdicts.
the unique appeal of this production lies in its orchestral staging, where a string ensemble interprets baroque music while two soprano soloists add luminous texture. the director of the veranos de la villa festival, angel murcia, highlighted how the combination of music and drama intensifies the audience experience, making the performance feel almost tangible with emotion moving through the room.
malkovich describes the work as something special, noting the musical component and the energy music can unleash. the impact is described as powerful, as if a moving house were sweeping through the audience, delivering a visceral sensation that lingers well after the curtain falls.
as the show grew in visibility, the actor drew on his experience with dangerous liaisons and other acclaimed productions, expressing awe at the power, beauty, and joy that come from performing with an orchestra and two sopranos. he looked to discover how his presence could harmonize with the ensemble and bring new layers to the character without compromising the core narrative.
for malkovich, cinema and theater resemble two distinct instruments: the piano and the violin. both are forms of music, but the way they are interpreted shapes their identity. theater is ephemeral and organic, while cinema endures, inviting repeated viewing and different interpretations over time.
watching a film years later can feel nearly the same as the first viewing, yet a live theater performance offers a unique, evolving experience from night to night. each performance carries its own energy, mood, and resonance, making the stage a living, responsive space for actors and audience alike.
malkovich has repeatedly expressed his affection for madrid, a city he visits frequently for both work and personal reasons. he recalled friendships formed there and remembered a film project shot in spain two decades ago, underscoring the city’s enduring place in his artistic calendar and his life outside the screen.