2024 comes with a gift for theaters with the Cap butaca buida initiative, so that all the seats in Catalonia are filled on March 16. But you can go to the theater every day, even on Mondays, since before they were closed “for company rest.” And now, after the holidays, comes an avalanche of premieres, but also important reruns.

A standout is Travy, who will be a hit again, now at the La Biblioteca theater, telling us in first person part of the history of the Pla-Solina family (31/I-3/III); La trena, by Laetitia Colombani, returns to Teatro Goya, a successful project by Clara Segura, Marta Marco and Cristina Genebat (1/II-17/III); the sensational Fairfly, from La Calòrica, can be seen at the new Espai Texas (9/II-28/IV); and we will have to wait until June to enjoy L’illa deserta, by Marc Artigau, in La Villarroel (5-30/VI) again.

But let’s not go that far and focus on this first quarter of the year, with a selection in order of release:

The Catalan playwright splits between La Gleva, where she has premiered El gos, and the Àtrium room, where this piece arrives, which is a crazy tribute to the magic of the stage, which at the same time proposes a visionary journey to the root of the enormous contemporary perplexities. A theater director dazzled by Henrik Ibsen’s work sees how a series of coincidences will make her vital ghosts appear, questioning her convictions. (9/I-4/II)

The Coliseum hosts a contemporary circus production by the avant-garde Australian company Circa. The combination of acrobatics, on the border between movement, dance, theater and circus, with light and sound turn the show into a symphony (17-27/I). The Gran Via theater also offers the monologue Chungo, by Luis Zahera, the fashionable actor who dominates all registers. (13-23/I)

After surprising with Those Who Should Not Die, this female company, which has performed at the Antic Teatre, the TNT festival and Estación Alta, is now performing at the Beckett room as a resident company. The new proposal is an exercise in autofiction, which explores friendship itself and metatheater, to go beyond stage conventions. (25/I-18/II)

Pau Carrió directs in La Villarroel a new version of the Norwegian writer’s novel, which was translated here as Elling: blood brothers Two young people (Albert Prat and David Verdaguer) meet in a psychiatric hospital and end up sharing a sheltered apartment. (27/I-14/IV)

In a new version by Rosich based on Oliver’s canonical translation, Lloll Bertran and Manel Barceló reinterpret in the Versus Glòries room the myth of Pygmalion, immortalized on the big screen by Audrey Hepburn in My fair lady. (31/I-24/III)

Jane Austen’s unfinished work already has a continuation. Wade has given an ending to Emma Watson and her sisters, which has been a phenomenon in London. Directed by Josep Maria Mestres with translation by Joan Sellent, 18 performers will fill the TNC stage to explain this story that was left in suspense two centuries ago. (8/II-17/III)

After The Producers, another popular musical comes to the Tivoli, with the story of an unemployed music teacher who accepts a job as a security guard at a boarding school for problem kids. Choral singing will become the best medicine, compared to the director’s rigidity. This Pentación Espectáculos production has Juan Luis Iborra as stage director, and Rodrigo Álvarez as musical director. (From 8/II)

After the success of Dostoevsky’s Crime and Punishment, the director Pau Carrió returns to Shakespeare, this time to direct the Scottish play, with Laia Marull and Ernest Villegas in the roles of Macbeth, plus a large group of performers, at the Teatre Lliure of Montjuïc. (14/II-17/III)

With dramaturgy and direction by Josep Maria Flotats, Romea premieres this piece, which represents a pulse between two of the great thinkers of the 18th century, played by Flotats and Pep Planas. (21/II-1/IV)

Àgata Roca is an associate professor at the Faculty of Philosophy who cannot pay her rent and goes into crisis, a fact that calls into question her ethical principles. Xavi Sàez plays all the men with whom he interacts, in this new disturbing piece by Szpunberg, which will be seen at the Lliure de Gràcia (II/28-III/24), where Iván Morales’s adaptation of the legendary Barcelona novel El día del Watusi, by Francisco Casavella. (10/IV-5/V)

Mercè Vila Godoy directs Flyhard’s new proposal, which uses urban music as an excuse to reflect on the price of fame. Is everything worth it to achieve success? (29/II-15/IV)

“Sex has the power to move the world, love it and destroy it. And that power is called Salomé,” declares the author and director of this revision of the myth of Salomé, with a cast led by Belén Rueda, which will be seen at the Goya theater. (19-24/III)