At Teatre Romea you can see (and enjoy) Memorias de Adriano, an adaptation of the book Mémoires d’Hadrien, by Marguerite Yourcenar. It features the wonderful Spanish translation by Julio Cortázar and a very well-made adaptation by Brenda Escobedo, who has done a great job giving new life to the text to bring it to the stage.
«At 17, excess is a virtue.»
Hadrian already sees his end and knows what it will be like. And he faces it calmly. He has worked to make Rome great and powerful and leaves it in good hands. Marcus Aurelius will be his successor.
«…. Plato's dream: to see a cold-hearted philosopher reign over men.»
From this conscious end of life… or perhaps not so much, Hadrian recalls everything he has lived. Around him, five mute characters act as his companions, puppets, support… five characters we don't know if they are real or are the fruit of his delusions as a man who already sees death face to face.
A dreamlike staging
José Novo's set design, white as marble, could be a palace room, or a portico of the Forum, or perhaps a bench in the Curia Julia, where the senate met… or a garden… or Egypt… A set design that allows live image projections of what happens on stage, turning the scene into a dreamlike kaleidoscope… or with other images of the emperor. Three television screens also collaborate in building this visual puzzle.
Nídia Tusal's costumes, sober, dark, in contrast with the white set design in the background, turn the characters almost into shadows that dance with Hadrian's thoughts.
«Saeculum Aureum»
Lluís Homar plays a magnificent Hadrian
Even in the most bitter and decadent moments, he gives the emperor great dignity and elegance. His monologue is full of subtleties both in the way he says it and in the way he interprets it.
Around him, Clara Mingueza, Álvar Nahuel, Marc Domingo, Xavi Casant and Ricard Boyle are Hadrian's work. They recreate his words… but also abandon him, chase him, play hide-and-seek with him…
The movements are sometimes very theatrical, but there are also moments where dance predominates, with very elegant and descriptive choreographies and a musical background very well designed by Tagore González.
«… I have lied as little as possible…»
Beatriz Jaén's direction ensures the rhythm doesn't drop
That pauses are an element of the staging. That every gesture has a meaning. That dance integrates into the text and merges with it.
Memoirs of Hadrian, at Teatre Romea, is a very good monologue based on a very good text. An adaptation that knows how to capture the original to convert it into another format without losing its essence. It is a very good monologue that allows us to enjoy Lluís Homar's performance. It is a very good monologue that makes Marguerite Yourcenar's book alive, palpable.
Before closing the chronicle: Lluís Homar had to interrupt the monologue to tell a spectator "will you turn off your mobile?"... Seriously, can't you go 1 hour and 40 minutes without looking at your mobile? When you are asked to turn off your mobiles, why don't you? Do you have to be so rude to the performers and the rest of the audience?
Final note: Memoirs of Hadrian is a magnificent production, but it is not for everyone. If you like Lluís Homar's work, go. If you like history (and, especially, the history of Rome), go. If you like monologues in any format, go. But, if you are more into comedy, funny monologues, lighter productions... if you go, you will see the magnificent work that is done there, but perhaps you will not enjoy it as much as you expected.
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