The historical and literary story of the ‘Vicerè’ at the Quirino in Rome

On stage Pippo Pattavina in the role of Don Blasco directed by Guglielmo Ferro, staging based on the novel by Federico De Roberto

From the history of the Risorgimento to the pages of a verismo novel up to the theatrical stages. The complex historical and literary story described by Federico DeRoberto in ‘The Viceroys’ is now unraveled from the staging directed by William Ironon the stage of the Quirino theater in Rome until Sunday, with Pippo Pattavina in a starring role as Don Blasco, one of several characters from the noble family of the
heir to the Spanish viceroys, whose story takes place in Catania in the second half of the 19th century, in that Sicily filled with fears and enthusiasm raised by Garibaldi’s enterprise of the Thousand and the transition from the Bourbon monarchy to the Kingdom of Italy.

The inexhaustible thirst for power and money that distinguishes the Uzeda it is sharpened by the death of Princess Teresa and the reading of her will, which favors two of her seven children. Choice opposed by the excluded, recipients of minor bequests, on which Don Blasco, the character played by Pippo Pattavinaa Benedictine friar with very little religious vocation and a life dissipated between women and banquets, a reactionary priest who ‘gattopardestically’ after Garibaldi’s victory and the plebiscite with which the Sicilians joined a united Italy, did not scruple to embrace the new patriotic ideas and free them.

The Viceroys they fit fully into the story of the history of our country and not just that of the South or of the Sicilygiving an astonishing fresco of transformations, deceptions, misunderstandings, pains, miseries, missed appointments and failures, along two generations – he observes William Ferro in the director’s notes – The Uzeda family crosses the most clamorous fault line of our national gestation, come on Bourbon to the Savoy. Published in 1894 in Catania, after a troubled and very painful journey, it marks De Roberto’s entire career with its resounding failure, which can be compared to Tomasi di Lampedusa and to his ‘Leopard’humiliated both in life and then glorified postmortem”.

(from Enzo Bonaiuto)