'AKA', different in the eyes of others

We live in a world of prejudice. In the case of Daniel J. Meyer's play AKA (Also known as) , prejudice, as the title suggests, precedes judgment. Because Carlos, a boy who falls in love with Clàudia, "looks like a Moor." In fact, he's a child adopted as a child, but explain that to the police and the public.

The fact is that Carlos has fallen in love with Claudia, but Claudia is a minor. Perhaps like him. What should prevail, judgment or prejudice?

AKA is the monologue of a disoriented young man, who is neither from where he lives nor from the country he comes from: from an Argentine Jewish family of German, Polish, and Russian descent. A story that closely resembles the biography of Meyer, who came to Barcelona from his native Argentina when he was under 20.

AKA is the monologue of a disoriented young man, who is neither from the place where he lives nor from the country where he comes from.

"And you, where are you from?", the question asked of someone not born in the place where they live, reveals many prejudices, which Meyer has experienced firsthand and which, consequently, have influenced his work. In AKA , the protagonist moves in this non-place, and not of his own free will.

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Directed by Montse Rodríguez Clusella, with whom Meyer works as a tandem, now at the Gaudí Theatre , and with performances only until Sunday, Guillem Villarroya Armengol puts himself in the shoes of Carlos to perform this successful monologue, which has already been running for several seasons since its premiere in 2018 at the Flyhard venue.