24 JAN – 2 MAR 2025 Tuesday to Sunday at 18:00 | Meet the artistic team 6 FEB 2025
Sara García Pereda
Xus de la Cruz and Sara García Pereda
Carmen Díaz, Silvana Navas, Rosario Pardo, Alba Recondo and Canco Rodríguez
Alessio Meloni
Rubén Martín
Pier Paolo Álvaro
Carlos Bonito
Xus de la Cruz
Leonora Lax
Centro Dramático Nacional
About the show
A jury for a literary prize discusses the consequences of naming four women finalists, a girl is organising a sit-in at her school’s football pitch, a runner creates an obstacle, ready to finish her career, a young woman who has always been served half decides to eat it ALL.
GRRRL are thirteen stories of resistance, of people who draw the line. When theories don’t reach, only the roar is left.
Note from the author and director
The title of this play is not intended to be a word.
It’s intended to be a roar.
This text I wrote at a drama residency was born from a conversation I had with a friend when she told me that her partner did not accept that she did not resort to her professional experience and reputation to shoot a series she had written and that was not being supported by a producer.
This made me reflect on the various ways the system has to appropriate, for its own benefit, the discourses, testimonies, and narratives of many women. A phenomenon known as purple washing, but viewed from a more everyday, subtle place, ally? and not so easily recognisable. These thirteen stories, based on real experiences of real women, some close to me, others inspirations, are testimonies that I wanted to distort through humour and irony, but above all, out of a conviction that profound change is possible.
Sara García Pereda
Sara García Pereda
Xus de la Cruz and Sara García Pereda
Carmen Díaz, Silvana Navas, Rosario Pardo, Alba Recondo and Canco Rodríguez
Alessio Meloni
Rubén Martín
Pier Paolo Álvaro
Carlos Bonito
Xus de la Cruz
Leonora Lax
Centro Dramático Nacional
Madrid, 1994. She has a degree in Playwriting and Directing from RESAD and an MFA in Playwriting from Edinburgh Napier University. Her works include Aire siempre de viaje (El umbral de primavera, 2017) Crossing Care (EHS Space, 2020), co-written with Kirin Saeed with aid from the Creative Inclusion Fund Scotland, and Esto no es la tragedia de Mariam, a creation of Fortun Cukis (Nave 73, 2023).
In 2019, she received a scholarship from the 8th INAEM Development Programme for Contemporary Dramaturgies, for which she wrote Pas Petite, her first text dedicated to children. In 2022, she received an extraordinary grant to promote the international mobility of literary authors.
© Juan de la Quintana
She has a degree in Playwriting and Set Management from the Real Escuela Superior de Arte Dramático in Madrid, and a Master’s in Women’s and Gender studies from the Universidad Complutense in Madrid. She has a degree in Classical Dance from the Royal Academy of Dance in London and is trained in Contemporary Dance. She took acting classes from Laila Ripoll at the Teatro de la Danza, and from Mª del Mar Navarro at the Teatro del Gesto. She is a founding partner of the companies: Teatro de Acción Candente and Las inviernas teatro.
As a playwright and director, she premiered Recatadas S.L. for the Compañía Nacional de Teatro Clásico. She created versions of El Misántropo de Menandro for the Festival de Teatro Clásico in Mérida, and Alfilerazos by Jacinto Benavente for the Teatro Español.
As a playwright, she premiered Mala espina, Clin, Clin, caja, Auto-indefinido, Ejecución, Greguería: un instante que resiste, Achaques, Paso a dos (Adagio para Isidra), Carta de ajuste y La cofradía de las invisibles for the Surge festival in Madrid.
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As director, she has staged most of her scripts, which have been performed in Spain and at international festivals in Portugal and the Czech Republic. She premiered Atentado de Félix Estaire at the Teatro Español and Matar a Francis at the Teatro Infanta Isabel.
She did the choreography and stage movement for María Luisa by Juan Mayorga at the Teatro de la Abadía, La tumba de María Zambrano, by Nieves Rodríguez and Rapsodia para un hombre by Félix Estaire, both at the Dramático Center Nacional, and Lo fingido verdadero at the Festival de Teatro Clásico in Almagro, among others.
She assisted the director on ten plays at the Centro Dramático Nacional, the Compañía Nacional de Teatro Clásico, Teatro Kamikaze and LAZONA Teatro.
She teaches at various performing arts training centres, such as the Nacho Duato school and the Som Academy.
