The Loved One: A Woman Without Filters Awaiting a Miracle in Intensive Care

The play "El ser querido" (The Loved One) offers a poignant exploration of caregiving and the complex emotions surrounding end-of-life decisions, anchored by a compelling solo performance from Jorgelina Aruzzi. The title itself, "El ser querido," oscillates between deep affection and a chilling distance, prompting questions about the nature of belonging and connection.

Aruzzi's character is depicted on the brink of exhaustion, spending sleepless nights in the hospital, subsisting on meager food. Her initial anger is directed at the daughters of the man she cares for, particularly as they have decided against resuscitation efforts. She repeatedly utters the phrase "No reanimar" (Do not resuscitate), a stark command that gradually reveals the underlying tension of the narrative.

The play unfolds with a minimalist set: celestial fabrics, chairs, a small table, a metronome, and a guitar. These elements help delineate the semi-private space of the intensive care unit. As the story progresses, the audience learns about the interned man, a minor musician with significant ambition and a struggle with alcoholism. The narrative structure, characterized by fragmented and seemingly disconnected pieces of information, forces the audience to piece together the story alongside the protagonist.

Aruzzi's portrayal is raw and intense, capturing a woman who, despite her weariness, desperately hopes for a miracle for the man she has been caring for. The audience gradually understands her long-standing connection to him, a relationship that began when she was 17. The play masterfully uses the confined setting and the solitary performance to convey the slow, agonizing passage of time in intensive care, creating a powerful and emotionally resonant experience.