Pedro el Rojo, a trained monkey, travels from a beast state toward something more human, then circles back to the beast at times. The concept—first proposed by Alicante playwright Lola Blasco—invites audiences to follow an animal life through a theatrical lens. The piece, drawn from a novel that explores animal perception, remains on view in Madrid’s Spanish Theatre until January 15.
For years, Blasco has believed that the novel, especially its passages about animals, could be translated to the stage. The production centers on eight lectures by the book’s author, Elizabeth Costello, who acts as a fictional avatar of the South African writer. In Blasco’s staging, two figures are placed at the center to shape the performance: Pepa Gamboa and the actor Nathalie Seseña.
The project isn’t merely literary in scope; it treats literature as a living dialogue presented in Madrid. It probes philosophical ideas about recovering a once-lost sense of animality and argues that courts are beginning to recognize animals as sentient beings, deserving consideration beyond simple utility.
The author faced a turning point during the pandemic, a moment when many people reconnected with nature. That experience prompted reflection on humanity’s place within the broader ecosystem and on how literature can expose human flaws. The work aims not only to depict animals but to reveal human wrongdoing through their lens.
Rather than posing a narrow question like whether meat should be eaten, the piece invites broad reflection on humanity’s trajectory and its impact on the planet. Audiences leave the theater emotionally engaged, and that emotional response is regarded as a key achievement of the production.
“Little Women” by Lola Blasco
The production highlights a larger critique: the way our economic and political systems cultivate a sense of self-absorption in the face of climate change, a global pandemic, and ongoing conflict. The narrative suggests that our patterns persist unchanged even as crises accumulate, signaling a need for deeper, more rational thinking about sustainability.
Genocide as a metaphor
In a sense, Costello’s speech in the novel becomes a commentary on moral responsibility, a theme Blasco develops further in the theater. The comparison draws on the idea that the Third Reich treated people as animals, illustrating how systemic violence reduces sentient beings to instrumental roles. The playwright notes that such slaughterhouses existed long before the brutal method of mass destruction was codified, underscoring a warning about the structures that sustain cruelty.
The stage arrangement follows a monologue format but leaves ample space for imaginative sequences. Costello guides the audience through visions of heaven and hell, inviting a journey that might test both curiosity and resilience. The creator emphasizes that the work is not simple preaching but a thoughtful exploration of the act of writing itself.
Lola Blasco views theater as a form of responsibility. She aims to convey a message rooted in poetic devotion and an honest grapple with the world. The production contends with the legacy inherited from past eras and what might be left behind. It argues that the system cannot endure in isolation and that true progress requires freeing others, including animals, from oppression.
Blasco, known for作品 such as My Century, My Beast, notes that while the topic may feel heavy, it is essential to discuss it openly. The current run continues through mid-January, with plans for a tour that will take the show to Alicante as a subsequent destination.