This production was extremely successful among audiences and critics. The newspaper ABC praised the production, noting how the audience laughed throughout, identifying with the particular Spanish references, issues and in-jokes (1972: 13). During performances the action was frequently interrupted by bursts of applause. After its premiere in Madrid, it ran from 1973 in Barcelona to 1975 in Albacete.
Review of Los buenos días perdidos at the Teatro Lara, Madrid, ABC, 23 November 1972. (No author supplied.) (in Spanish)
The set design was by Francisco Nieva. In his Introduction to the 1987 edition of the play Andrés Amorós notes that the positive reviews for this production can be largely attributed to Nieva’s impressive scenography (1987: 34).
Gala, Antonio. 1987. Los buenos días perdidos. Anillos para una dama, ed. Andrés Amorós. Madrid, Editorial Castalia (in Spanish)
This production won a New York critics’ award (ACE Award) for Best Set Design.
In this production the actress Mari Carrillo, who had so successfully performed in the play in the 1970s, returned to play Hortensia. Carrillo’s daughter, Teresa Hurtado, played the role of Consuelito. They had both performed these roles before in 1975.
In its 1991 revival the play was a success. It no longer had the same contemporary relevance for the audience as it once did, but critics noted that it spoke in new ways (López Sancho 1991).
López Sancho, Lorenzo. 1991. Review of Los buenos días perdidos at the Teatro Reina Victoria, Madrid, ABC, 23 February
In this production the actress Mari Carrillo, who had so successfully performed in the play in the 1970s, returned to play Hortensia. Carrillo’s daughter, Teresa Hurtado, played the role of Consuelito. They had both performed these roles before in 1975.
This was a staged reading of the play.
Entry written by Gwynneth Dowling. Last updated on 13 November 2010.