Director Ángel Alonso, beloved anarchist and agitator of Barcelona's Sala Villarroel, dies

Ángel Alonso, a fundamental figure in the Catalan theater scene and a co-founder of Barcelona's Sala Villarroel, has died at the age of 84. Alonso was remembered as an endearing anarchist and agitator, characterized by a confident, powerful demeanor, a "corsair's" face and beard, and bold, provocative statements, often likened to a theatrical Kropotkin or Bakunin. Yet, beneath this exterior, he was known as a kind, sentimental, and friendly man, fond of dialogue and good living.

From 1972 until 2005, Alonso managed Sala Villarroel, which began as a theater "close to the working class." During his tenure, he curated a diverse and healthy program with a consistent left-wing, anarchist, and rebellious touch. He provided opportunities for many of the country's historic theater companies and brought artists from across Spain, establishing the venue on Carrer de Villarroel as a premier artistic platform and an icon of its era. Alonso navigated the complex and turbulent waters of Spain's transition to democracy, steering the committed venue through the anti-Franco struggle.

The theater faced adversity, including a bombing in the lobby in February 1977 during a performance of 'La sangre y la ceniza, diálogos con Miguel Servet.' Alonso, a man of progressive convictions and a libertarian in thought and action, often punctuated his insightful opinions on theater, society, and politics with hearty laughter that relativized everything. His conversations with friends, like Pepe Rubianes, were legendary for their spirited exchanges.

Ironically, Alonso experienced significant commercial success with a production that contrasted with his activist and alternative image: the comedy 'La extraña pareja' (The Odd Couple). Produced by Focus and premiered in 1994, it ran for over two thousand performances and attracted more than a million spectators during its five-year run. While proud of this achievement, Alonso also expressed bewilderment and a touch of embarrassment at having triumphed with such a mainstream play, given his career and personality. The pairing of Focus and Alonso was often described as a truly "strange couple" in theatrical circles at the time. He felt ideologically more aligned with adaptations like 'Historias de la puta mili' from 1990.