The revenge of Don Mendo, a musical that is not a musical and that does not go out of style

June 30 arrives at Queen Victoria Theater (Madrid) Don Mendoza’s Revenge by Pedro Muñoz Seca, one of the most memorable texts of our 20th century theatre, so much so that it has become the fourth most performed play of all time in Spain.

The work belongs to the genre, created by the author, of ASTRACHAN, a minor comic genre that only aims to make people laugh at all costs. Despite being considered inferior, its sociological aspect is quite interesting, since the time presented great political, social and economic instability and this genre provided an escape from reality causing laughter without much effort.

Under the direction of José Saiz, humor and ingenuity travel in this text that continues to be just as current today. Defined by the author himself as “caricature of tragedy”, Don Mendoza’s Revenge is, in addition to being extremely popular, a fun parody of the romantic drama with a historical setting.

This new adaptation has a cast of ten actors and is conceived as a musical… which is not a musical.


The Castilian knight Don Mendo Salazar, Marquis of Cabra, considers himself cheated when he discovers that his fiancée, Magdalena, will marry Don Pero Collado, Duke of Toro. After a disastrous encounter, Don Mendo ends up indicting himself as a thief and ends up imprisoned and condemned to be walled in by Magdalena’s order. His tragic fate is altered by his friend, the Marquis of Moncada, who saves him from brutal punishment by deceiving the law. Don Mendo threatens to return for Magdalena, but not out of love, but out of revenge.


Pedro Munoz Seca, born in El Puerto de Santa María in 1881, practiced law and was a private teacher, but his real job was that of a playwright. Maximum representative of humorous theater at the beginning of the 20th century, his works still enjoy great popularity. His ability to verse and play on words, together with the grotesque distortion of reality that he presented in his pieces, created the so-called “ASTRACHAN”, a variant of the boy genre.

Although due to his lack of self-criticism he is considered a minor author, and despite the fact that his works excessively flattered conservative sectors, the truth is that Pedro Muñoz Seca’s theater was a resounding popular success, to the point that it became It is customary to memorize fragments of its premieres, especially “The Revenge of Don Mendo”, from 1918, a delirious parody of medieval dramas.

Among his most famous works we can mention «Los Extremadura se tocan», zarzuela without music; “You are Ortiz” (1919), a mockery of surrealist tendencies; “Faustina” (1919) and “Satanelo” (1930), humorous visions of the myth of Faust; “La plasmatoria” (1935), with the theme of spiritism and the reincarnation of Tenorio. He also wrote farces such as “La caraba” (1922), and “Calamar” (1927), satire against the world of cinema; and “El goose” (an acronym for an imaginary free association of “tired and bored workers”), an anti-working-class satire.

The revenge of Don Mendo, a musical that is not a musical and that does not go out of style