In the third play by journalist Totò Rizzo, the protagonist, masterfully played by Filippo Luna, is grappling with the acceptance of his homosexuality in the family
Long applause and ovations for the protagonist Philip Luna for the debut ofGaetano As it is” that the Theater of Naples proposed in the “national premiere” to the Mercadante redoubt, the room in which it offers a glimpse of contemporary dramaturgy and the search for new languages. The Neapolitan Stabile – National Theater – has bet on the third work of the Palermo journalist Salvatore Rizzo that he had already written for the sets “The thousand blue bubbles” which fifteen years after its debut is still touring Italian theaters and “Se’ nùmmari” (“Six numbers”) staged by the Stabile di Catania under the direction of Vincenzo Pirrotta. Pirrotta is once again a director for this story of an emigrant who arrives in Sicily to declare his homosexuality to his mother and the family in which he was born and raised in a climate of mistrust, suspicion and violence.
A cage made of innocent pipes and broken and sharp mirrors stands out on the scene, where Gaetano, in the sixty minutes of a very tight monologue, holding his breath, tries to free himself from the mental cages of which he is a prisoner. It is he himself who gives voice to the other characters in the drama: the mother who does not want to accept that reality, the sister who has always suspected, the neighbor who, with his story, describes the social microcosm in which the protagonist grew up.
There is also a fourth and also invisible character, Mario, the companion that Gaetano left in Germany and who once again urged him to go down to free himself from those ropes of which he is already symbolically hostage at the beginning of the show . Between childhood memories (particularly shocking is that of a childhood game ended in paternal violence) and adulthood disillusions, Gaetano’s story becomes a powerful cry, an invitation to self-acceptance. With the soundtrack of the extraordinary Maurizio Capone which is much more than a comment, almost a parallel monologue.
In Rizzo’s painful words that Pirrotta’s direction transforms into sharp knives, Filippo Luna moves with a psychophysical power that knows no moments of respite, in a sort of delirious ballet, almost in the grip of a verbal and motor hallucination that he governs with the technique of the purebred actor but without escaping moments of great emotional impact, overwhelmed at the end by the thunderous applause and the “bravo!” of a perhaps aware public, upon exiting the Ridotto del Mercadante (where it is staged until 22 January)to have seen not only a show of sulphurous beauty but also a necessary one, as we need more these days.