“Humility, ecology, respect for nature and neighbor. St. Francis invites brotherhood, forgiveness and love of neighbor. Messages still today of extraordinary relevance. We know that the Pope is a great lover of the theater. We hope to have him. with us to see a representation of ‘Come on People’ “. This is what Ariele Vincenti told Adnkronos, who directed ‘Forza Come Gente’ in the forty-year anniversary of the tour that sees its debut in the capital, on December 2nd (repeats until 5th, from 25th to 27th) at the Auditorium of the Conciliation. The tour of the show written by Mario and Piero Castellacci with the collaboration of Renato Biagioli and Pietro Palumbo will then continue in Milan (Teatro Nuovo, 18 – 19 December), Turin (Teatro Alfieri, 4 – 9 January), Naples (Teatro PalaPartenope, 15 ), Bari (Team Theater, 29 – 30), Florence (Verdi Theater, 6 February), Brescia (Gran Teatro Morato, 19). A Guinness Book of Records comedy ‘Come on, People’. The debut on 9 October 1981, exactly 40 years ago, at the Teatro Unione di Viterbo, a musical comedy that in a few years would become a real cult-show of the entire national scene, crossing the same geographical borders , to be translated into eight languages, and represented in countries such as Brazil, Mexico, Poland, Ukraine, Albania and Belarus.
Three thousand and 500 replicas, over 2 million and 500 thousand spectators … only in Rome, in Piazza San Giovanni, on 16 August 2000, on the occasion of World Youth Day, the show gathered 250 thousand admissions, and in Padua, in the Appiani Stadium, together with Pope John Paul II, over 30 thousand spectators attended the performance. In the forty years (1981-2021), Soni Produzioni proposes a new version of Forza Come Gente. Faithful to the original in plot and content, in dramaturgical development and musical scores, but profoundly renewed in the technology and quality of the staging. So much so as to bring the musical comedy back to the atmosphere of a real musical with a Northern European image, while remaining deeply anchored to the majesty of a figure, that of St. Francis, who in the world is an icon of apostolic culture and emblem of Catholic spirituality. The plot, centered on the figure of the Patron Saint of Italy, tells the values and emotions of everyday life, but dedicates interesting moments and intense reflections on the relationship between fathers and sons, often contaminated by different expectations and distant values, which nourish suffering dichotomies, in the desperate search for mutual love. In this particular case, a crude and trivially materialistic trader cannot understand the superior and transcendent goals of his son.
And, in many ways, it is also humanly understandable. Saint Francis is in fact considered a revolutionary figure in the Christian Church. Pius XII will define him as “the most Italian of saints and holiest of Italians”. The show therefore offers two different reading levels. On the one hand, the representation of a documented truth, the description of a context within which the figure of St. Francis of Assisi moves, on the other, the relationship between fathers and sons, which does not need historical references, because it is part of the history of humanity, of all generations and all epochs. On stage 20, including actors, singers and dancers, who will accompany the audience on this musical journey, which tells of one of the most important figures of Christianity. A journey in some aspects mystical and spiritual, in others, of elegant entertainment and overwhelming sympathy. The music is signed by Michele Paulicelli, Giampaolo Belardinelli, Giancarlo de Matteis.