‘Per fi sol!’: Well said, Carles Sans!

It must be really complicated have been in contact with the public for 40 years and one day having to lower the curtain so that it does not rise again. And more if the pandemic forces you to exit earlier than you had in mind, and without being able to also enjoy the farewell party that you had well earned over so many years. It was the case of Tricicle, Paco Mir, Joan Gràcia and Carles Sans. One of them, Sans, could not resist and has returned to stand in front of the public. He has done it alone at the Teatre Borràs, without his two colleagues from the legendary trio, and also as a stand-up commentator, not as a mime or gestural theater actor as throughout those four decades of unanimous applause.

‘Per fi sol!’ Impossible a more direct title (without malicious intent, of course). Alone and with an agile, direct, witty and well-basted verbiage. Sans reiterates that he is a gestural theater actor in admirable physical form, and that he is old enough to retire. He shows it throughout the monologue, especially in those moments in which he repeats some movements of the ‘triciclera’ period so applauded then and now. Giving up on this ‘rentrée’ the Tricicle footprint would have been absurd, and not only because it is his, but because it is what the public expects to see ‘Per fi sol!’, A faithful follower of all the ‘hits’ of the group.

Biographical review

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Sans, therefore, unfolds a biographical review of how the trio sprouted, at its beginnings in the café-theater of Llantiol (one of the best scenes of the remember), that he was the handsome of the trio, Mir the bald and Gràcia the chubby, how they were confused with La Trinca, or how he skated several times with those who were the girlfriends of his companions. All seasoned with a white humor, not without sporadic mischief, and at a good pace. The montage goes on constantly, without haste but without pauses that mean downturns. There you can see the external collaboration of Jose Corbacho, the colleague who directs ‘Per fi sol!’, and an expert in monologues and all kinds of situations that seek the complicity of the viewer.

The memory of the trio’s anecdotes provoke the complicit laughter of an audience that approaches Borràs with the idea of ​​having a little more of Tricicle after their goodbye. But it also finds Sans personal brushstrokes So as not to be tempted to squeeze her past excessively into the threesome. There are good moments like the joke about his nose, his hypochondriac character, his phobia of flying or how his wife is a friend of traveling with suitcases typical of a transoceanic adventure even for a weekend. Sans, in addition, not only speaks, he demonstrates his imitator skills in two ‘sketches’ about Sara Montiel and Esperanza Aguirre. Well said, Carles Sans!


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