My final evening with Sara
- Written by Eva Manjón and Miguel Padilla; dramaturgy and direction by David Planell
Alicante Main Theater
Although it is not presented as a true story, the events unfolding in this intimate tribute to Sara Montiel during the tenth anniversary of her passing carry a sense of realism. The production is a compact musical experience that invites the audience to reflect on the era and the enduring appeal of the famous performer from La Mancha, whose songs graced many films. While the prologue and the closing moments offer emotional imagery connected to Montiel, the central figure remains somewhat absent, and the emotional impact feels lighter than expected. Consequently, the piece comes across as a lean, sparsely populated evening rather than a lush, immersive spectacle. The star’s peak performance is recalled from the late 1950s, with The Last Cuplé serving as the touchstone of drama, passion, and comedy that the show seeks to evoke.
The drama unfolds in the early 1960s, a period when Montiel was exploring opportunities in Hollywood and weighing different directions for her career. Throughout the performance, details from Montiel’s life and career surface in fragments, inviting audiences to piece together the larger arc. A notable aspect is the inclusion of Nuria Fergó, making her stage debut in a role that showcases a sharp, intelligent interpretation, even as the full breadth of that potential remains only partly realized. The performers are asked to act and sing with immediacy, without impersonation, allowing the cast to project their own distinct personalities while paying homage to the star.
Design elements—lighting crafted by Nacho Arjona and the texture of sound from a recording studio setting—contribute to a mood that swings between nostalgia and curiosity. The selection of songs includes possibilities such as Maybe, Maybe, Maybe; We Hope to Smoke; La Violerera; The Water You Shouldn’t Drink; Tattoo; He’s My Man; Bésame Mucho; and Volver. Among these, Nena stands out as a particularly moving moment, offering a window into Sarita through Nuria’s performance. The show’s producer, a key advocate for the diva, lends a sense of reverence to the proceedings, while one character adds a light, endearing touch that contrasts with a scene that brushes against homophobic undertones. In another moment, Seda embodies an elderly figure who reveals a quiet, poignant regret. The musical’s original accompaniment is brought to life by Juanjo Molina, with Antonio Ródenas providing the NO-DO voice as well as the core melodies that underline the score.