Sinopsis Es un día importante en la faraónica ciudad financiera 'la Metrópoli'. Su presidente, Álvaro del Castillo, espera impaciente la celebración del torneo anual de primavera. Para la ocasión, ha sido invitado el lanzador profesional de boomerang Daniel Schutz, quien rodará un spot publicitario de la corporación con una idea de fodo: 'Todo lo que se le da a la ciudad, es devuelto con más fuerza'. Pero el carismático vicepresidente César Vega impone el protagonismo, acompañado de su mujer Virginia, de la inesperada reincorporación al trabajo de Ruth Montes y de la misteriosa Katja Volkova. Tras una apariencia de normalidad festiva, nos introducimos en un intenso juego de ida y vuelta, donde la sospecha y la paranoia toman las riendas de un universo emocional simulado. Y es que, como dice Ruth Montes, en el mundo de mercantilismo voraz que impone el capitalismo 'el corazón es un simple sistema de bombeo'. Un ejercicio de reflexión sobre los modelos de conducta exitosos del sistema capitalista

Synopsis It’s an important day for the ambitious financial district, ‘La Metropoli’. Its president, Álvaro del Castillo, impatiently awaits the celebration of the annual spring tournament. For the occasion, professional boomerang thrower Daniel Schutz has been invited to record an advertisement for the corporation with one basic idea: ‘Everything that is given to the city comes back stronger’. But charismatic vice president César Vega takes centre stage, along with his wife Virginia, unexpectedly rehiring Ruth Montes and the mysterious Katja Volkova. After the apparently normal festivities, we enter an intense game of to and fro, where suspicion and paranoia take the reins of a simulated emotional universe. As Ruth Montes says, in the voraciously mercenary world imposed by capitalism, ‘the heart is a simple pumping system’. Boomerang arose as an exercise of reflection on the successful modes of behaviour that dominate the capitalist system, including, probably most of all, psychopathy. The play is set in an enormous financial district, a place where emotions are an obstacle to the interests of the market. And yet, these factors do not turn the characters into unattractive, unintelligent monsters. Quite the contrary: they are the great creators of fascinating, intoxicating atmospheres. And although a critical mind may exist in the background, the creative foundation of Boomerang has always been not only the analysis of these psychopathic models in the name of success, but also an attempt to treat these characters as human beings.