The bell marks the beginning and end of each day. Despite being buried up to her waist, and then to her neck, every morning Winnie wakes up fascinated by the brand-new day – “hello, blessed light!”. The objects of everyday life (and not only) stored in the bag, that was her husband’s gift, give her entertaining subject matter for the whole time. Day after day. But not just entertainment. Winnie uses them to build a permanent reflection of the world – so she doesn’t spend “a single day without any knowledge enrichment, no matter how insignificant!”. Between the fascination for the things she has available at her fingertips, and the memories of what she no longer has, Winne talks from dawn to night with a husband, Willie, who is barely seen and we can’t be sure that he actually hears what she says. “Feeling your there, at the reach of my voice, is everything I ask for,” she says. A love story, some will say.

Assembled in a scenario of Maria João Castelo, Cucha Carvalheiro reveals the soulful energy that Winnie has for the will to live and for her ability to be amazed by “such wonderful!” things, like an ant that passes by her, or the numerous functions that an umbrella can have. If this is naïve or courage, that is at the discretion of every individual. The sun’s movement is the measure of the passage of time, essential to a lucid awareness, and the routine of every day, with hours scheduled for every thing, the engine between the past and the future: “I don’t know if it’s time to sing my song. Singing too early is dangerous, but, be careful, we cannot miss the right time, otherwise the doorbell rings and I have not sung yet”.

Perhaps distinguishing the pessimists from the optimists, the texts of Samuel Beckett have the ability to make, in the same audience, people laugh, while others cry. And that was the case of this staging of Happy Days (1961), carried out by Sandra Faleiro, at Teatro São Luiz.

Lindos Dias! will be on stage until 22 April, from Wednesday to Saturday at 9:00 pm, and Sunday at 5:30 pm.