Juan Mayorga's latest theatrical venture, Los yugoslavos, has made a striking reappearance at Madrid's Teatro de la Abadía, offering audiences a complex blend of intellectual nourishment and emotional provocation. Raquel Vidales critiques the production as "nutritive, stimulating, and sparkling," yet it is marred by a lingering sense of frustration due to its artificially paced staging. Originally penned in 2010 and previously showcased outside of Spain, Mayorga's work now seeks a renewed resonance, emphasizing the power of words not merely in literary or political contexts, but profoundly within emotional spectrums—the nuances of everyday dialogues and their concealed truths.

Meanwhile, Barcelona's FlyHard theater revisits a project initially thwarted by the pandemic. Instruccions per enterrar un pare, crafted by Carmen Marfà and Yago Alonso, faced a premature halt due to Covid-related constraints. Now reimagined as Mesures extraordinàries, Oriol Puig Taulé observes in his review that despite the presence of three adept actors, the production struggles to transcend its limitations and achieve its intended impact.

Finally, the small-scale coproduction, Entre rimas y riberas, orchestrates a poetic dialogue between the sonnets of Garcilaso and the verses of nine Uruguayan poets, including Ida Vitale and Dorila Castell. Javier Vallejo highlights how the four actors unravel poetic motifs such as the elusive beloved, mourning a deceased lover, and the woman envisaged as a blooming garden. This artistic endeavor juxtaposes aurisecular and contemporary expressions of romantic love, creating a unique narrative tapestry that spans time and cultural boundaries.