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In a one-act play of less than two hours Bailey Theatre On August 3, he confirmed in the Arena dell’Athletics that he had mastered the deepest essence of Plautus. Plautus’s Miserthat is to say Olulalia – Performances, included in the 2024 plan Plautus Festival And again in the speculative adaptation Roberto Lerici Edited for Mario Carotenuto in 1988 – took full advantage of Savoia Teethwas asked to play the miserly old Catenaccio, and most importantly to play a wonderful and convincing role Francesca Biancowho plays on stage the role of Vinaccia, the old servant, who drags the time of the entire cast (Fabrizio Bordignon, Francesca Buttarazzi, Giuseppe Cattani, Germano Rubbi, Alessandra Santilli, Susy Sergiacomo, Roberto Tesconi and Tonino Tosto).
For those who don’t know, the plot tells of an old man who owns a pot full of gold coins and lives in fear that someone might steal it from him: every character that appears before him – from servants to neighbors – is a potential thief. When his wealthy neighbor Cicorione proposes to him, Catenaccio suspects that it is a plot to discover his gold; however, in the end he accepts, stating that Cicorione will take Lucia without a dowry and will pay all the expenses of the wedding scheduled for the same day. Catenaccio does not know that his daughter is already pregnant with Cicorione’s nephew Lupetto, and that he wants to marry her. Meanwhile, the cook who was called to prepare the wedding feast arrives, and Catenaccio hears him say the word “pot” several times, thinks he is a thief, and beats him. However, for safety reasons, Catenaccio moves the pot to the temple of the goddess of faith. Saetta, Cicorione’s servant, sees Catenaccio hiding the pot and is about to take it, but before he can do so, Catenaccio moves the pot to the sacred grove of the god Silvanus; this time the servant steals it from him and hides it in Cicorione’s house. Meanwhile, Luperto explains the situation to his uncle and obtains his consent to propose to Lucia. However, when he goes to talk to Catenaccio, the old man is desperate because he notices that the pot is missing and he asks Luperto a lot of questions, who thinks that the old man is talking about his daughter and her pregnancy. Lightning then gives the pot to Luperto in an attempt to buy his freedom; Plautin’s text is suddenly interrupted and the director takes over. Carlo Emilio Lerici This creates an impressive ending: all the coins remain in the air, fall to the ground and cover the stage.
The stage machine incorporates the comedy of the Salcino poets to great effect: an hour and fifty minutes of free diving, pleasant, funny, completely Plautinesque gestures and jokes of the freest, vulgar, but without offending the sensibilities of the audience. The rhythm is really tight and communicates perfectly with the simple but functional set of the story being told: two side doors, four pillars, four black panels as a backdrop and the central door that designs the field of action.
The curtain (even though it doesn’t exist: at the end a glittering carpet is laid out on the stage).
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