La Porta de l’escenari

La Porta de l’escenari is a Catalan celebration of musical theatre with the habits of an archive and the warmth of a local broadcast. It starts from Premià de Mar, but its imagination is international. Broadway, London, Madrid, Barcelona, and the parallel stages of Barcelona all pass through its frame. The program is built around music, not chatter. Episodes often choose a single work, period, or tradition and let songs carry the listener through the story. Mamma Mia! becomes more than an ABBA jukebox phenomenon; the program follows its London anniversary, its Spanish premiere, its Madrid and Barcelona runs, and its touring life across Spanish cities. Zarzuela receives the same seriousness. La Gran Vía, La boda de Luis Alonso, La Revoltosa, La corte del faraón, Luisa Fernanda, and Cançó d’Amor i de Guerra are treated as living parts of musical-theatre history. The show is especially attentive to Catalan and Spanish stage memory. Cançó d’Amor i de Guerra is placed in 1926 Barcelona, under Primo de Rivera’s dictatorship, with its title change and later bans connected directly to the music’s emotional force. The American canon appears with similar care. Oklahoma! is introduced through its Broadway premiere, its main creative partnership, and its Oklahoma setting. Porgy and Bess is framed through its creators, its Broadway debut, and a noted recording. Blood Brothers is heard through its Barcelona version, its Willy Russell origins, and its long London life. The pacing is unhurried. Historical explanation gives way to extended musical excerpts, then returns with dates, theatres, authors, performers, and production context. Carles Soler is repeatedly credited for technical direction. Octavi Egea supplies the recurring narrative presence, measured and welcoming without rushing the material. The result is a show for people who like their musicals with footnotes, memory, and full songs.