It is not yet a show, and in fact it was presented in the Oscar theater in Milan as a “work in progress”, a stage reading. At the same time «Kr70m16-Cutro» is much more than a show, because three actors with four lecternsalthough on the basis of a text still in progress, delve, with the air of barely touching, profound historical and social themes, such as the great epochal tragedies that have crossed and continue to cross the world, a stigma to which humanity does not seem able to escape. Saverio La Ruina, with Cecilia Foti and Dario De Luca, his friend from “Scena Verticale” of Castrovillari (where the Spring of theaters will soon begin=, he finds a way to tell, using his always so dense lightness (from this point of view his writing is a kind of miracle), the tragedy of the Cutro shipwreck, in in which 94 migrants lost their lives in February last year, and compare it with the Shoah, through the almost mythical figure of the Hungarian doctor of Jewish origin Ladislaus Schwarz, who after being interned in the Ferramonti concentration camp in Calabria, decided to stay in Castrovillari.
An extremely slippery topic today, when thoughts also turn to Palestine. So that surreal “competition” between victims that hovers in an imaginary cemetery is even more striking because we could say that it mimics the absurd controversies that we are debating in recent months, in which between the West, Arabs, Africans and Asians it seems that not all tragedies are of equal importance and do not have the same common denominator of violence, cruelty and sense of domination and, as such, should not all be condemned.
The title, «Kr70m16-Cutro», says a lot because those acronyms, however necessary, condemn anyone who has been a human being to anonymous oblivion, without even the right to an identity anymore. Kr is the acronym for Crotone, 70 is the progressive number in the casualty count, m means male, 16 is the age: this is what I don't remember. This is why even in this way, work in progress as much as we want, we are already in the essence of the theater that does not remain silent and does not hide, which also addresses the theme that may appear more divisive because instead it wants to unite, it wants to lead to the absence of a humanity that is only one, of beings that are all people. Equal in life and death.
It even seems trivial to say it, but Saverio La Ruina's theater as always does not give discounts to anyone and proposes, without any prevarication, the possibility of a different thought, which is not always unnecessarily biased. It may also be due to the simplicity of the lecterns and the ability of the actors to move masterfully, we could say with bare hands, from one character to another, imagined and to be imagined, but the stage, due to a strange visual phenomenon of conscience, no longer appears in higher than the spectators. In short, he doesn't preach, but he dialogues, he respects so that everyone can be respected.
«We have presented – says La Ruina – a phase of work in which it is possible to glimpse the construction of the text and the show in filigree. Like entering the rehearsal room in that delicate moment when things are in progress, starting to take shape, perhaps still fragile, but interesting precisely because they show how the artist constructs his work.”
And yet, the form is already there, of course.
