Alan Bennett wrote these monologues for the BBC between 1988 and 1998. Evocative of his childhood in a province of England between the 1940s and 1950s, Bennett explains that he soon learned a valuable lesson: life is what happens somewhere else. There is something in these monologues that strikes me as disturbing. It escapes me why what is disturbing is often fascinating. But it is so. It seems to me that Bennett's lucidity is introduced into the human soul in the same way that a laparoscope is inserted into the human body. Bennett looks at his characters as equals. Not out of grief but out of compassion. Not out of judgment but out of empathy. And, the truth is, I like them. The protagonists of these three monologues never tell the full story. They only recount their point of view, possibly unfair to the other characters they are talking about. And they do it from their wisdom, from their madness, from their pain. And, above all, from his unhappiness. Because Bennett’s protagonists are trapped, very trapped. We could say that they are a bit simple, a bit common, a bit old-fashioned and also essentially British. Or, rather, English. Yes. This is true. But we all know that it doesn't matter where we are from or what ideology we have or what education we have received. The human soul is essentially one. A few years ago I told Moses Maicas about Bennett’s monologues and we tried to start the project. With the unfortunate death of Maicas, the project came to a halt. Later, Montse Prat and I decided to start it again and got the complicity of two actresses and directors, Lurdes Barba and Imma Colomer. The idea was to make three monologues and have each lead to another. So, Lourdes would go to Imma, Imma would go to me, and I would go to Lourdes. The TNC really liked the idea and, together with the translator Anna Soler Horta, the artist Julio Vaquero, who has done the set design, and the rest of the team that accompanies us, we are ready to give voice to these speakers .
– Lina Lambert