Elena Bucci and Marco Sgrosso return to Rome after the successful experiences of the past years, The hostess with Goldoni. The two founders of the Society of Fine Flags and already known to the public of the Teatro di Roma in front of which led Macbeth, Hedda Gabler, back now with this re-reading of the text Goldoni. In a crowded theater, dominated by the presence of many children, the group takes us into the story with clever play of light and shadows, with the sound of a creaking ship - and the crunch that seems to sound the alert to a sudden lunge - and an atmosphere a bit 'dark and faded. is the dangerous bend structures which could crumble to lie on our heads, is built on the illusion of happiness and wealth to haunt us all passengers of the same ship. Mirandolina is the captain of this ship, where they meet / collide friends / foes bitterly disputing a heart that uses them to carry on the beloved inn. The Mirandolina Elena Bucci is a woman who uses his puppets with delight, we test an almost sexual pleasure, knows what he wants, does not give the independence of his heart to a man master sway sensuously weaving plots and unscrupulous never slaves. He knows he is not having to sell to the riches of wealthy men and in a ruthless game picks up in the handle and ruin his reputation. is probably the woman who would take in this reality sinks, dominated by men who are too overwhelmed by their cravings, by their own interests. this is the hidden message in fun events inherited by the innkeeper Goldoni, and this is what the company wanted to convey to us the public. So we read the director's notes: "As we have lost by sacrificing a feminine world view in favor of the masculine view of the world?"
The system and staging are very effective, Mirandolina - often represented with humble femininity - has the power of a resolute woman, sly, and very reminiscent of the Lady Macbeth already interpreted by the same Bucci. Two women apart, but they share a lot, especially in the interpretation and directed by Elena Bucci. Perhaps, too much similarity between the two remains a bit 'of force to the latter interpretation: too much alike, too much like the gestures and expression of feelings, even in similar spaces on the stage win. I would say probably in the interpretation of Lady Macbeth, Hedda Gabler and Mirandolina by Bucci could not see the differences. Moreover, the same director and actress has appeared somewhat subdued, using a warm voice that you try to convey the feelings alive wanted by his direction, but these have often turned off in mid-stalls. Among the comments at the end of the first act someone in the back row has complained of not warn the words of Mirandolina. And I can not confirm that, as the tone of voice was very low and extremely lower than that of the other actors, creating a gradient that was swaying violently the ship on which the actors move. Among others, he was appreciated Gary Cole (The Marquis of Forlipopoli), the protagonist of a test perky and fun. Sparkling also Fabrizio (Roberto Marinelli) who gave a special thanks to the brio Tuscan dialect (the choice is also the director of Bucci vololtà of "dirty" text with the use of dialects). Marco Sgrosso scratching in the role of rude, misogynistic Knight Ripagratta. Belle and balanced forms Dejanira (Daniela Alfonso) and Hortense (Nicoletta Fabbri).
For the rest, the hallmark of the royal Bucci is visible, always very intelligent and charming. Too bad, they can not define this work among their best.
The system and staging are very effective, Mirandolina - often represented with humble femininity - has the power of a resolute woman, sly, and very reminiscent of the Lady Macbeth already interpreted by the same Bucci. Two women apart, but they share a lot, especially in the interpretation and directed by Elena Bucci. Perhaps, too much similarity between the two remains a bit 'of force to the latter interpretation: too much alike, too much like the gestures and expression of feelings, even in similar spaces on the stage win. I would say probably in the interpretation of Lady Macbeth, Hedda Gabler and Mirandolina by Bucci could not see the differences. Moreover, the same director and actress has appeared somewhat subdued, using a warm voice that you try to convey the feelings alive wanted by his direction, but these have often turned off in mid-stalls. Among the comments at the end of the first act someone in the back row has complained of not warn the words of Mirandolina. And I can not confirm that, as the tone of voice was very low and extremely lower than that of the other actors, creating a gradient that was swaying violently the ship on which the actors move. Among others, he was appreciated Gary Cole (The Marquis of Forlipopoli), the protagonist of a test perky and fun. Sparkling also Fabrizio (Roberto Marinelli) who gave a special thanks to the brio Tuscan dialect (the choice is also the director of Bucci vololtà of "dirty" text with the use of dialects). Marco Sgrosso scratching in the role of rude, misogynistic Knight Ripagratta. Belle and balanced forms Dejanira (Daniela Alfonso) and Hortense (Nicoletta Fabbri).
For the rest, the hallmark of the royal Bucci is visible, always very intelligent and charming. Too bad, they can not define this work among their best.
Review by Alessandro
It should be (seen at the Library Theatre Quarticciolo March 12)
It should be (seen at the Library Theatre Quarticciolo March 12)
Locandiera
Carlo Goldoni
Director: Elena Bucci
Genre: Comedy
Company / Production: CTB Teatro Stabile di Brescia, in collaboration with the Society The Bella Band
Interpreters : Elena Bucci ( Mirandolina ), Marco Sgrosso (The Knight of Ripafratta )
Daniela Alfonso ( Dejanira ), Maurizio Cardillo ( The Count of Albafiorita ), Gary Cole (The Marquis of Forlipopoli ), Nicoletta Fabbri (Hydrangea ), Roberto Marinelli ( Fabrizio )
Date
12 and 13 March at the Theatre Library Quarticciolo (Roma)
29 and March 30 at the Teatro Tor Bella Monaca (Rome) for
other dates Click here
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