Michele Miglionico
Luckily there Pirandello , "a name, a guarantee" that the theater is full. Yet one can not say that the now ten-year Company Gank like to win easy - not as much as with the recent co-production of Romeo and Juliet with Riccardo Scamarcio. Why this evening own play, like the other two installments of the trilogy of the meta-theatrical Sicilian bard, it is not so easy to transpose. It requires wisdom and balance.
Alberto Just take the role of director in reality and in fiction, an inevitable choice in the game. There
crisis and now the stage needs to alterations do not deny anyone, so the fake public speaking, the paper provided by the playwright, is cut off, losing a touch of those early warnings of Living Theatre, limited to a unique address to the audience or some fleeting movement under the stage. At the bottom of what is consumed is the clash between the director of twentieth-century mold, hold the truth, and the cast of actors, drawn into an improvisation from commedia dell'arte in theory, actually tied to a ladder which does not can - or could - whatever. The
piƩce is a roller coaster that tosses from one genre to another, and when the curtain falls as you feel dizzy after a ride. This is true even if you know the rules of the game: once you are drawn into the mechanism, it really starts to blur the line between real actors, actor-character and character. Much care
side of music, following current trends: for example, the character of chanteuse singing for real, and with intensity, to cabaret. Moreover, the singing aspect is characteristic for some of the players and the selection is judicious as acceptable.
Cristina Pasino Leading Lady is a formidable credibilissima in the role of matriarch, comes to show all the years that the character requires, and is a matter of attitude, no makeup - which, among other things, is a heavy, wanted to makeup for all.
The staging is impeccable, he accused some loss of tone, but the cast is up to the task and a timeless text.