Everyone exclaims him: “Santozzeus”. And this bizarre exclamation punctuates theIn Tasty “Lisistrata”third spectacle of the 60. Season of classic representations of the ADA of Syracusewho debuted at the Greek theater among the applause – but above all the laughter, and it is not always a foregone conclusion, with that very difficult device to handle the ancient comedy, Santozzeus! – and somehow certifies the nature of refined and complex bridge between the ancient and the current. That is, the Relcello of always representations, especially comic, where it is a moment to twist the ancient text on modern categories, or, on the contrary, to respect a philology that becomes, for the viewer, the darkness in which the winking of figures and situations is lost.
The director Serena Sinigaglia finds its own way, indeed, weaves one of her canvas, we could say, on the wire of the metaphor that visually holds the whole show, starting from the scenography of Maria Spazzi: that of the weaving. The scene is an Athens-Floraio with five doors whose threads unravel and, above all, they deceive everything around the walls and acropolis, with their blood color that evokes the capillaries, the blood streets “of a huge organism”, but also the warp and the plots of coexistence. Among the sexes, the classes, the peoples. Those who, when Aristophanes writes, are at war. Just like today, that we hear the winds of war to spy on our restless world.
And then no, the theater cannot be called out, but he must know how to call himself inside, call us inside. It does so, with the witty composure of an always charismatic Lella Costa, Lisistrata (whose name means “the one who dissolves the armies”), d’Arancio dressed (the costumes not too characterized – aside from the “workers” very modern workers – are by Gianluca Sbicca) proposing the thing for which this comedy has always been famous: the sex strike by women, the only way to convince, to make peace. Another rock: translating the ancient, physical and Salace comedy, citing it but without falling into the farce, moving to rice but without placing with the worst stereotypes of sexist male chauvinism of which Aristophanes and its time are bearers (as of disproportionate gold fouls, as touched by the Spartan ambassador, a fun Lussian Alessandro), nor with all the rhetoric of the “war between the sexes”.
We can say: mission accomplished, dear Serena and Lella and Lisistrata, a true leader woman (and this, not the fouls, had to be suddenly comic for the times: a real subversion that fortunately we no longer perceive this, today that we also have “the” president) who reappears all the threads, commands the insurrection of women, even introduces reflective moments that make without forcing “bridge” with our present. And applause, rightly, flow to the “lesson” on mutual and simultaneous enjoyment, to “we are women, beyond the barrels there is more”, to “from this moment the war is no longer a priority”. And the references to the “stupid duties” and the “subversive ticks” – but we have even thought of an Athenian security bill … – they allude to graffiano and yet scratch, supported by the wise translation of Nicola Cadoni, who knows where to fly and where to rework (the fun “Latinorum” in the mouth of the “Dorici”).
Of course, after the outbreak start and the hilarious performance of the “prefect” (an amazing Aldo Ottebrino who feeds, sure, the stereotypes of the genres, tracks and non -tracks), a little rhythm is lost, albeit in the beautiful tests of the duet between Mirrine and her husband Chinesia (the good Cristina Parku and Salvatore Alfano) and in the long part in which the “choirs” Corifei) of the old people (the fantastic geriatric trombones – today someone would be senator – by Marco Brinzi, Francesco Migliaccio and Stefano Orlandi) and the old people (three “sciure” with the Birignao and the inclined wigs that prove formidable strategists, the very good piller Perez Aspa, Giorgia Senesi and Irene Serini) pass from the insults to earnings. And there we appreciate that “grammar of love” of which Sinigaglia speaks in the direction notes, and which allows you to free this lysistrata from superficially “feminist” readings, looking beyond. To a sort of “pacification” between genres, as well as between peoples (also reflected in the soundtrack, by Filippo del Corno, in which the sound worlds of flutes and percussion will end up “agreeing” each other).
The peace that is an idea, danced with elegance (the choreography are by Alessio Maria Romano) by Giulia Quacqueri, a ghost that opens and closes the scene, first tormented and “wound”, finally free and bright. A peace that must be sung (the final chorus … Riannoda all the sound threads, with the usual excellent work by Francesca della Monica and Ernani Malatta), counting “not to always make the same mistakes”. Even if 2500 years later we are making exactly the same mistakes … and in this anxiety of telling and bellies we would like to give advice to the rulers: ask the theater. He knows how to call it, peace.
The excellent cast is completed by the exuberant Calonice of Marta Pizzigallo, the fascinating fascinating of Simone Pietro Causa (about genres, binary obsession and … ancient jokes, since Lisistrata says to her: “You are the only real woman among them all!”), The funny “allies” beota and Corinthia of Didi Garbaccio Bogin and Beatrice Verzotti and the very nickened ambassador. Athenian of Stefano Degreement. The chorus of massage, drivers, cheerleaders and archers is always very good girls and boys of the precious investigation. It continues, alternating with “Oedipus a Colono”, until June 27th.