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Agostino - Rolando Ravello, Massimiliano Bruno

In a subject in school, in front of the teacher and classmates tease him, Lorenzo tells how, during the day of his first communion, his family was thrown away from home in Tor Bella Monaca new tenants from abusive and the father Augustine, going to the police, he discovers that the house was not rented but had simply been regularly occupied by a "band" terribly dishonest cheating the poor family earning each month a rent which, in fact, had no right to have.
Augustine then fight all the way to get his house, before turning to the state and then, receiving no aid, addressing those who go against the mob, but the end is too honest to accept that the henchmen massacrino barrel of poor people and then decide to place a tent and fill the hall.
As in many Italian neighborhoods, this law does not count and applies a real Wild West where people are good and no balls as Augustine does not have an easy life and are destined for the cruel Darwinian law that punishes the weak.

are fifteen characters in this story but only one actor interprets them: an extraordinary Rolando Ravello. How can play so many characters? Changing the voice and posture. It almost seems to see a spectacle of a court jester and, despite being incredibly tragic story because, in part, is really happened (in fact at the time of Augustine reveals the true greetings on stage), the actor manages to make you laugh until to tears with his way of interpreting the characters: the wife is insecure, the master drive, and severe (to die laughing), the daughter who never speaks, the owner of the house but memorable fascist is the grandfather who looks exquisitely vulgar ssi mme de anna asks you to 'sleep in' in car, propane t'attacchi cornice der ar cock.
But the actor, though exceedingly good, is not the only note of the excellent show.
History, in fact, was told by two musicians, storytellers, ubiquitous on stage with beautiful music in the style of Tom Waits played by Alessandro Mannarino (vocals and guitar) and Houman Vaziri (violin).
But last and certainly not least (forgive me the platitudes) is the magnificent writing of the great author of the text Massimiliano Bruno.
memorable phrases that remain in my heart, that moves and make people laugh, who will stay as the punch line when recited by storytellers Augustine has a suitcase in one hand and the other a bouquet of flowers to try to regain his wife is gone: A quest'eroe not give him a medal, but what's underneath ... heart.

An hour and a half show that flies so fast that appears to have increased no more than forty minutes.
I can not believe how stupid I was to wait until the last day to go and see this magnificent text, in this way, not only will I recommend it to anyone, but I do not have even a chance to come back for a second time.

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Title Augustine
Author Massimiliano Bruno
Directed Lorenzo Gioielli
Interpreters Rolando Ravello
Music Alessandro Mannarino (vocals / guitar / toys / percussion), Houman Vaziri (violin and knick-knacks)
Genre Narration
Where Teatro Ambra Jovinelli (via Guglielmo Pepe, 43. Area: Esquilino)
Rated 10/10

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Entertainment postponed

The Company regrets to inform that it is impossible to go on stage in November with Taxi 2 squares for unavailability of home theater.
We are currently looking for a new hall that can accommodate in Rome. We will inform you promptly about the new show dates as they become available from their new home.
We sincerely apologize for any inconvenience!

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Scissors Under Madness

time ago I read on a website that Scissors Madness has set a world record for number of theatrical performances and spectators in the face of such a reference, I could not but be intrigued.

We are in the shop of a hairdresser's very "eccentric" with a hairdresser forced Tor Bella Monaca, a very rich lady snob and a strange man who apparently do not have much interest to get a haircut.
Upstairs lives a famous concert pianist who spends his days doing exercises on the piano constantly disturbing the clients of scissors Madness.
When the pianist is found murdered after being repeatedly hit in the throat with scissors for barbers, two police officers involved by saying that the murderer is one of the people inside the store.
Which of them? It will be the public to help the two agents in their investigations by asking questions to the suspects, advancing hypotheses and doubts, and finally judging.

a "yellow" in this show there is very little. This is, in fact, a really funny comedy and a tasty original.
Already the idea is to understand how this show can be seen every night, you can be sure never to see the same thing twice.
Since the public is actively involved, the actors are forced to improvise, to modoficare their jokes and, above all, to be able to create an alibi by the defamatory accusations of the public. One would think that the author has imagined all the possible questions that could be made and wrote jokes suitable case for the promptness and decision with which the actors respond.

Among the characters is not possible to be able to choose one more fun than others. If I were to act in this play, I would be equally satisfied any role. Make judgments about the actors who interpret them, it means writing a list of superlatives absolute but, in the opinion of myself and some friends who came with me, stupid and ignorant of the Commission was the best. I had to restrain myself with laughter every time he spoke, otherwise they risk not to hear the next beat.

One thing is for sure, I'll definitely see it bringing more people and highly recommend to all.

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Title Scissors Madness
Author Gianni Williams
Director John Williams
Interpreters Antonello Avallone, John Williams, Silvana De Santis, Sebastiano Nardone, Uberto Kovacevic, La Scala Mariafrancesca
Genre interactive mystery / comedy
Where Theatre the Angel (by Simone de Saint Bon 19. Area: Prati)
When until January 18
More info www.forbicifollia.com
Rated 10/10

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pay do not pay

as usual , the plot of a play by Dario For is just an excuse to tell / report a problem of social type.
In this case we speak dell'attualissima economic crisis around the world and, of course, the blame is given to " masters" who, like vampires, sucking the blood of the poor people.

Antonia and John are a married couple. She was fired a year and can not find work, he works in a factory that is likely to close due to bankruptcy. One day
Antonia back from the supermarket with dozens of shopping bags and her friend reveals that there has been a huge sack because of the price but can not tell John that I have all the goods without having paid because would never have approved.
When police and the police begin to search for all homes the area, the problems begin for Antonia.

And 'course, a kind of show of its kind, will be appreciated by an audience mainly of the left (although there are criticisms of the PD), but personally, I would recommend it to anyone because, beyond the message that can be more or less acceptable, the comic situations that are created are really hilarious, typical of the Commedia dell'Arte.
Dario For has always been called a fool and this style is also reflected in the directing and writing, creating characters totally surreal and caricaturist.
Marina Massironi is quite formidable but I must say that I greatly revalued Antonio Catania, rather than an actor, is been making a real modern comic buffoon even more feeble jokes.

director decided apt choice and acceptable (at least by me) has been to make the scene changes to the same actors, with a background music (provided by Dario For), emerging from the fifth to move their characters and the various objects stage and that to interpret the policeman, the policeman, the undertaker, the father of John and the banker at the actor: an extraordinary Sergio Valastro (or at least I think it was because he did not appear on the site of the theater names of the characters close to those of the actors). This
to emphasize on the one hand the lack of money, as if to say the economic crisis we feel we , and second, though, there's a return to the aforementioned Commedia dell'Arte in which the actors themselves today to change scenes and interpret multiple roles by simply changing the mask.

If there's one thing I did not like, it was the final (or rather, the post-final).
actors have stopped acting and started to list all of Italy's problems turning the show into a rally. It was up to me, I closed the curtain first 5 minutes, but, after all, this was to be expected by Dario For.

Information:
Title: Under pay, you do not pay!
Author: Dario For
Directed by: Dario Fo
Performers: Marina Massironi, Antonio Catania, Marina De Juli, Renato Marchetti, and Sergio Valastro
Genre: Comedy / Satirist
Where: Teatro Valle ( Via del Teatro Valle, 21 [Centre strorico])
When: Until October 26
Rating: 8 / 10

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Filumena Marturano

For purely logistical reasons (I was born in '85), I never Eduardo could see the Grand Master on stage this evening but I think his spirit has revived only for as long as the curtain was raised on one of the finest dramas in the history of the theater and was present in the role and voice of his son Luke too weakened by the gossips that repeat with annoying sing-song at the exit of the theater: "Eh , but not as the father .

Domenico Soriano is a gentleman (now very little " -ino") that can be said, from its 52 years, having had everything in life: women, money, fortune.
the same way as all the young gentlemen like him, he went to recreation often with prostitutes Vico San Liborio (a sort of Street Field Fabrizio de André) and, among others, meets Filumena Marturano which falls madly in love and takes her to live with it.
Filumena But it's still a whore and can not be treated with the same dignity as a woman, even though more than one wife, she loves him, cares for him and is close in the most difficult for twenty-five years; Yet Dominic continues his worldly life completely ignoring the sacrifices of Filumena.
Finally, to convince Domenico to marry her, pretends to be dying and expresses, as a last wish, the Sacred Union, but after the blessing of the priest, revealing the deception and masterminding all staged to give a family her three children who had a secret and you do not know who the father is. What
Filumena did not consider is that the law of the World, that of men, what makes you cry (and his laugh) not accept a marriage extorted by fraud, even if for a purpose so noble then fails to take into hand the situation by confessing that Domenico is one of the three but that his son would never say that because have 'to be all three equal .

legrime I think I came out at the end of each act (there are three in all) and the chills I felt in the most important moments of the drama are worth more than any review that came in my mind. There are no words to
express the beauty of folk wisdom and philosophy of the text, in my opinion, the most beautiful ever written in absolute phrases like The children are not paid have nothing to envy to the now proverbial O Rome or Romeo.

From amateur actor, I think, to Filumena Marturano, it is more difficult to interpret the role for an actress and is a little 'for the role that every actress would test their skills and challenge themselves on one side and all the other great actresses who have worn these clothes from May Pupella for the theater in Sofia Loren for the film adaptation (with Marcello Mastroianni). Challenge, Lina Sastri has been able to face to face high, typical of pesonaggio Filumena. Excellent
was also the work of Luca De Filippo, who has been able to customize the character rather than recline in the shadow of his father by showing that it had indeed a great master ... that was not just Edward, but also the anxiety of having to bear a comparison that should not be entitled to be there.
Really cute characters of Alfred and Rosalie that plays down the scene.

One thing I noticed and appreciated was the choice of directing Francesco Rosi to make everything incredibly static against the incredible dynamism of Filumena as to give greater importance to the character.
idea decidedly different from the version "Edwardian" and perhaps even more apt because, especially in times of major monologues, brings our attention exclusively on the protagonist as evidenced by the great love of family and duty to do everything to protect it and why IJF ' so 'IFJ '. It is just

that might (I say "might") be sore for a Roman audience, you must use the Neapolitan dialect, which sometimes tends to make a tricky understanding to the untrained ear 'Neapolitan accent. But it would be impossible (and ugly) Eduardo in the theater of a perfect Italian diction.

Bottom line: you still more than a month's time. Go see what is a masterpiece of Italian theater and the world generally made by a company of actors really good.

Information:
Title: Filumena Marturano
Author: Eduardo De Filippo
Director: Francesco Rosi
Performers: Lina Sastri, De Luca Filippo, Nicola Di Pinto, Antonella Morea, Joseph Rispoli, Joy Miale, Daniel Russo, Antonio D'Avino, Chiara De Crescenzo, Borrini Carmine, Silvia Maino
Genre: Drama
Where: Theatre Argentina ( Largo Argentina, 52 [Centre strorico])
When: Until Nov. 16
Rating: 9 / 10

What Is A Deception Expert

Pazzi leaving Agora theater

Philip and Max (brothers) who married Charles and Lucy (sister) and living in two adjacent apartments.
are ready to leave for the vacation of their dreams but the arrival of Peter, father of the two men who ran away from home and terrible carer, is likely to break off their trip, so young people try to trick George the nerdy neighbor, the father and give him the week off.
The arrival of Margaret, mother of the two sisters and widow of six (or seven?) Husbands, only complicates things.

Giacomozzi Luke is a very young author as a young cast of this show is yet one can not laugh in front of the excellent success of the entire complex. Despite
jokes funny and original text, in fact, is likely to be insignificant or even trivial if it is not made better with the right timing and I recognize the actors in this great ability to interpret and timing.
doors that open when others close, when other people come out, voices that speak when the other weakens, all made at the right time.
It is difficult to establish an actor or actress better than the other, therefore, forgive the banality, but I congratulate the players (without taking anything away from the others) because they have been able to really enjoy themselves on stage making a lot of funny scenes in which Max had to beat Phil.
the game, they have also been able to keep the two girls, perfectly consistent with their characters manic cleaning (talented Claudia) and confusing.

If I were to express their criticism (to look for the hairs), I would not have made the choice to record the voice of Armadillo 21, the driver (but Claudio was to teach?) because, even though it was very hard to hold the laughs in the face of that voice surreal, could not always meet the right times, as would have happened if there had been an actor with a microphone from behind the scenes. .. but, as I said, it's just a stickler.

Conclusion: if you want to laugh, go see it.

Information:
Title: Crazy in
starting Author: Luca Giacomozzi
Directed by: Alberto Santos
Supervision artistic Claudio teach
Performers: Marco Cavallaro, Claudia Ferri, Renzo Pagliaroto, Sara Carallo, Carlo Pavan, Carmen Di Marzo and Antonio Conte ed Elena Croce
Genre: Comedy
Where: Agora Theater ( Way of Penance, 33 [Trastevere])
When: Until October 19
Rating: 7 / 10

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The lightness value of the theater

<< "Con i piedi fortemente appoggiati sulle nuvole." E' una frase di Enno Flaiano, recuperata da uno dei suoi quaderni di appunti, unico segno grafico in una pagina totalmente bianca, vuota. E' diventata una sorta di messaggio che da allora (quasi vent'anni fa) guida il mio atteggiamento nel fare teatro. La incontrai mentre vagavo affascinato nella lettura delle Lezioni Americane di Italo Calvino. Un'altra iluminazione.
fact, when Calvin speaks of subtraction of weight, lightness value I can not help but think of the process of petrification, which could affect our theater, more likely today classify the audience during jaw opening the yawning or to seek to raise dust that vitality and innovation. Remove
weight to the structure of the narrative, language (including stage) without simplifying or impoverished content, lightness pursuit of precision, agility, speed, or the lightness as a reaction to the weight of life, have become and continue to my address be creative. Able to sweat but also to fly. Planes but also be practical and not wishful thinking: the method in the madness. Just Calvin says: "Fantasy is like jam, you just spread it on a solid slice of bread." >> Taken from

From Pennac to Moliere Return George Gallio, a theater director (published as a postscript to the story "The long night of Dr. Galvan" by Daniel Pennac, Feltrinelli edition).