Teatre Poliorama

Historical Theatres and Concert Halls
Teatre Poliorama
  • Alternative names:
    Cine Martí
    Teatre Català de la Comèdia

    Year of establishment: 1899
    History:
    Situat a la Rambla de Barcelona, a la planta baixa de la Reial Acadèmia de Ciències i Arts de Barcelona, va ser inaugurat el 1899 com a Cine Martí, essent la primera sala de projecció cinematogràfica de la ciutat, amb projeccions com, per exemple, Jeanne d'Arc de G. Méliès. Va tancar el 1903 per reobrir el 1906 com a Cine Poliorama, però ja va començar a alternar les projeccions de cinema amb funcions de teatre. El 1935 va acollir l'estrena de la popular La Rambla de les floristes de J. M. de Sagarra. El 1937 es converteix en Teatre Català de la Comèdia. El 1939 va tornar a ser una sala d'exhibició cinematogràfica. Amb diferents reformes realitzades entre 1985 i 1994, va passar a realitzar les funcions de Teatre Nacional de Catalunya, de la Generalitat de Catalunya, sota la direcció de Josep Maria Flotats. En l'actualitat és gestionat per una empresa privada. S'hi han estrenar diverses sarsueles com María de la O (1935) de Manuel López Quiroga i text de Rafael León, i Escalera de color (1940) de F. Moreno Torroba.
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Flamenco dancer

Daughter of Miguel Borrull Castellón. In 1912 she made her debut with his family at the Parisian club La Feria. She performed at the Café Villa Rosa, the family's Barcelona venue. She also performed at theatres such as Eldorado (1917, 1925), Novedades (1919) and Còmic (1921) in Barcelona, Romea and Comedia (1917) in Madrid, and Eslava (1915), Villa Rosa (1931) and Apol·lo (1932) in Valencia, where the press called her ‘the queen of gypsy dance’. In 1929 she took part in the premiere of the flamenco comedy La zambra del Sacro-Monte at the Teatre Nou in Barcelona. That same year, she also took part in Los flamencos, a lyrical sainete with music by Amadeu Vives premiered at Teatre Tívoli. In 1933 she collaborated with the company of Laura de Santelmo at the Gran Teatre del Liceu, in Falla’s opera La vida breve and in the gitanería El amor brujo. The following year, she performed with his sister Julia in the flamenco comedy La zambra del Chorro Jumo. FlFrom the 1940s onwards, she was described as the queen of alegrías and was a flamenco dance teacher at the school

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Flamenco dancer

Daughter of Miguel Borrull Castellón. In 1912 she made her debut with his family at the Parisian club La Feria. She performed at the Café Villa Rosa, the family's Barcelona venue. She also performed at theatres such as Eldorado (1917, 1925), Novedades (1919) and Còmic (1921) in Barcelona, Romea and Comedia (1917) in Madrid, and Eslava (1915), Villa Rosa (1931) and Apol·lo (1932) in Valencia, where the press called her ‘the queen of gypsy dance’. In 1929 she took part in the premiere of the flamenco comedy La zambra del Sacro-Monte at the Teatre Nou in Barcelona. That same year, she also took part in Los flamencos, a lyrical sainete with music by Amadeu Vives premiered at Teatre Tívoli. In 1933 she collaborated with the company of Laura de Santelmo at the Gran Teatre del Liceu, in Falla’s opera La vida breve and in the gitanería El amor brujo. The following year, she performed with his sister Julia in the flamenco comedy La zambra del Chorro Jumo. FlFrom the 1940s onwards, she was described as the queen of alegrías and was a flamenco dance teacher at the school

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Flamenco dancer

Daughter of Miguel Borrull Castellón. In 1910, promoted by her father in Madrid’s variety halls, she began dancing flamenco with her sister Isabel, adopting the stage name ‘Las Hermanas Borrull’ or ‘Las Egipcias’. The sisters made their debut a year later at the Teatre Arnau in Barcelona. In 1912, their success made it possible for them to perform for a few months at the flamenco restaurant La Feria in Paris.

Between 1913 and 1915, she embarked on a successful solo tour of different Spanish cities. In 1915, the family moved to Barcelona where she ran the Café Villa Rosa from 1916. At the same time, she performed in theatres in Barcelona and throughout the country, including Sala Imperio (Barcelona), Teatre Eslava (Valencia), Teatro de la Zarzuela (Madrid) and the Kursaal (Melilla).

She took over the direction of the family-run Café Villa Rosa in 1926. In 1934, she took part in the premiere of the flamenco comedy La zambra by Chorro Jumo at the Teatre Poliorama.

Julio Romero de Torres captured the dancer in the painting Alegrías (1917).

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Flamenco dancer

Daughter of Miguel Borrull Castellón. In 1910, promoted by her father in Madrid’s variety halls, she began dancing flamenco with her sister Isabel, adopting the stage name ‘Las Hermanas Borrull’ or ‘Las Egipcias’. The sisters made their debut a year later at the Teatre Arnau in Barcelona. In 1912, their success made it possible for them to perform for a few months at the flamenco restaurant La Feria in Paris.

Between 1913 and 1915, she embarked on a successful solo tour of different Spanish cities. In 1915, the family moved to Barcelona where she ran the Café Villa Rosa from 1916. At the same time, she performed in theatres in Barcelona and throughout the country, including Sala Imperio (Barcelona), Teatre Eslava (Valencia), Teatro de la Zarzuela (Madrid) and the Kursaal (Melilla).

She took over the direction of the family-run Café Villa Rosa in 1926. In 1934, she took part in the premiere of the flamenco comedy La zambra by Chorro Jumo at the Teatre Poliorama.

Julio Romero de Torres captured the dancer in the painting Alegrías (1917).

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Composer

Based in Barcelona, he composed popular songs and dances during the second third of the 20th century, with special relevance during the 1940s. His wife, Mercedes Belenguer, collaborated as his lyricist. They signed many of the works under the names of J. Lito and M. Godoy, respectively.

Some of the most celebrated songs include Mi casita de papel, Yo quiero un TBO and Amor que viene cantando, popularized by renowned vocalists of the time such as Pepe Blanco, Jorge Sepúlveda and Carmen Morell. The couple's production included pieces in different dance styles: tangos, foxtrots, pasodobles and boleros.

Francisco Codoñer is also the author of stage music premiered in Barcelona: the revue Luz en las sombras (1925) at Gran Teatre del Bosc; the lyrical fantasia Me debes un beso (1954) at Teatre Apol·lo and the revue Dos amores vienen cantando (1955) at Teatre Poliorama.

 

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Composer

Based in Barcelona, he composed popular songs and dances during the second third of the 20th century, with special relevance during the 1940s. His wife, Mercedes Belenguer, collaborated as his lyricist. They signed many of the works under the names of J. Lito and M. Godoy, respectively.

Some of the most celebrated songs include Mi casita de papel, Yo quiero un TBO and Amor que viene cantando, popularized by renowned vocalists of the time such as Pepe Blanco, Jorge Sepúlveda and Carmen Morell. The couple's production included pieces in different dance styles: tangos, foxtrots, pasodobles and boleros.

Francisco Codoñer is also the author of stage music premiered in Barcelona: the revue Luz en las sombras (1925) at Gran Teatre del Bosc; the lyrical fantasia Me debes un beso (1954) at Teatre Apol·lo and the revue Dos amores vienen cantando (1955) at Teatre Poliorama.

 

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Cuplet singer

She made her debut at the Café Novedades in Seville. In 1904 she settled in Madrid with a contract at Sala Actualidades. A year later she was already a well-known cuplet singer, sharing stage with Pastora Imperio, La Fornarina and La Bella Chelito. In the mid 1905, she visited Barcelona inaugurating the summer season at Teatre Granvia. In 1906 she began a national and international journey. She added songs and traditional costumes from other Spanish regions to the repertoire. The painter and stage designer Luis Muriel made up to 45 sets. In 1908 she performed for six months in the theatres of Havana and toured several Mexican cities. In 1914 she performed at Teatre Poliorama (Barcelona) with great success and in 1919 she made her debut in Paris with the opera Goyescas by Granados. The following year, she performed in London and in 1925 on Broadway. In 1947 she settled permanently in Barcelona. Some of her hits include Tango de los lunares, El aceitunero, Mi gitanillo, La naranjera and Pena, pena. She took part in the movie Malvaloca (1926) by Benito Perojo.

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Cuplet singer

She made her debut at the Café Novedades in Seville. In 1904 she settled in Madrid with a contract at Sala Actualidades. A year later she was already a well-known cuplet singer, sharing stage with Pastora Imperio, La Fornarina and La Bella Chelito. In the mid 1905, she visited Barcelona inaugurating the summer season at Teatre Granvia. In 1906 she began a national and international journey. She added songs and traditional costumes from other Spanish regions to the repertoire. The painter and stage designer Luis Muriel made up to 45 sets. In 1908 she performed for six months in the theatres of Havana and toured several Mexican cities. In 1914 she performed at Teatre Poliorama (Barcelona) with great success and in 1919 she made her debut in Paris with the opera Goyescas by Granados. The following year, she performed in London and in 1925 on Broadway. In 1947 she settled permanently in Barcelona. Some of her hits include Tango de los lunares, El aceitunero, Mi gitanillo, La naranjera and Pena, pena. She took part in the movie Malvaloca (1926) by Benito Perojo.

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