The Teatre Tantarantana already has everything ready for the next season. The venue on Flors street has advanced the first proposals for its 2026-2027 season, and the declaration of intentions could not be clearer: adaptations of trend-setting novels, uncompromising political reflection, transgressive queer culture, and the revival of pieces that were very well received at their premiere.
The stories we will see on the Tantarantana stage
The theater's program combines absolute premieres in Catalonia, shows that make the leap to the main hall after selling out tickets, and productions that return to the billboard to continue opening uncomfortable, necessary, and highly topical debates. The season will kick off from September 18 to October 4 with No gender, the anticipated premiere in Catalonia of the work by trans creator Odin Maldonado, awarded the CENIT 2025 Prize. It is a performative and transdisciplinary piece that mixes music, body, text, and humor to dismantle the labels of the binary system from the experience of his own transition.
The company La impostora will be in charge of inaugurating the season of Àtic 22 from September 25 to October 11 with La hora de la estrella. Under the direction of Diana Dibau, the adaptation of Clarice Lispector's novel builds a portrait of innocence, invisibility, and the need to give voice to the "insignificant" lives that often pass by unnoticed on the street. Political reflection and historical memory will arrive from October 14 to November 8 with the return of Nosotros, los sin nombre, a proposal by Mos Maiorum with dramaturgy by Joan Yago that is based on the biography of the anarchist Joan Garcia Oliver to connect the collective memory of the libertarian movement with the questions, uncertainties, and struggles of the present.
In addition, the theater has reserved two unique performances on October 17 and 18 for Solo quería bailar, the punk adaptation of Greta García's novel arriving from Madrid. Performed by Olalla Hernández and directed by Alberto Velasco, the show presents a first-person monologue about a dancer who ends up in prison for standing up to institutional bureaucracy.
In the final stretch of the year, from November 26 to December 20, Mazorra returns with his acclaimed show Quería ser maricón pero nací sudaca (I wanted to be a faggot but I was born a sudaca), a contemporary cabaret that mixes cumbia, electronic music, and mariachi to speak openly about migration, sexuality, "sexile," and the insurmountable distance between the idyllic European narrative and the reality of migrant people.
Finally, from December 9 to 20, Perfectament imperfecta (Perfectly Imperfect) will make the leap to the main hall after its success in the small format. Directed by Laura Domènech, this adaptation of Carla Gracia Mercadé's novel presents a direct and unsweetened story about motherhood, the shock of a child's ASD diagnosis, and the right to break with social and family expectations.
More than 30 years of history and "ravalero" sentiment
These six proposals are just the tip of the iceberg of a cultural project that boasts more than three decades of trajectory. Founded in 1992 by Julio Álvarez and Víctor Suañez on Tantarantana street (initially focused on children's theater), the space moved in 1996 to its current headquarters on Flors street, an old umbrella factory in the heart of El Raval. Since then, the theater has evolved to become one of the great engines of the city's independent scene.
In 2014, the venue took another step by opening Àtic 22, a space dedicated to research, experimentation, and new dramaturgies, and by promoting the residency project El Cicló. This commitment to the artistic fabric was recognized in 2017 when the Barcelona City Council officially cataloged it as a Creation Factory.
Beyond the stages, Tantarantana understands art as a tool for social transformation and cohesion. The space has an openly "ravalera" identity and, therefore, regularly collaborates with local entities such as the Xarxa de Suport Mutu del Raval (Raval Mutual Support Network) and neighborhood high schools, developing community projects such as PI(E)CE, cultural education programs, and internationalization initiatives.
Its productions have received great ovations from both the public and critics; in fact, among its accolades, we find major recognitions such as the Max Award, the Critics' Award, and numerous Butaca Awards for its own productions such as Fairfly, Mein Kampf, or La hora de la estrella (The Hour of the Star).
This new season, the Raval venue once again demonstrates what it is: a risky, committed theatrical space deeply linked to its environment.