The curtain opens – Friday, December 6th at 9pm – on “Tilt – Global Exhaustion”, the new show directed and performed by Debora Villa, written by four hands with Carlo Gabardini, (production You can do productions) in which the actress and comedian talks about the reaction to complex phenomena such as "pandemics, wars, climate-energy-economic crises, politics, earthquakes, fears, insecurities and collective psychoses". Risk is a “global exhaustion” that nullifies all cognitive and relational capacity: "From traffic to TikTok, from dishonest politicians to labor exploitation, from beauty routines to bullying, from conspiracy theorists to ignoramuses turned commentators, the reasons to do TILT are truly many." Debora Villa offers a thoughtful yet ironic analysis of our society and what we have become, intertwining stories and theatrical fables, satire and therapeutic comedy, and even rap, with a piece written by Shade and set to music by Jaro where she emphasizes that "you can't kill women's strength," in constant interaction with the audience, for "an inner journey in search of happiness.".

The game of passions – Friday, January 10th at 9pm – with “The marital illusion”" Of Eric Assous, with the actress and presenter Rosita Celentano, talented daughter of art and well-known face of the big and small screen, and with the eclectic actor and singer-songwriter Attilio Fontana (former champion of Tale e Quale Show, a career spanning theatre and musicals, cinema and TV) on stage with the artist from Alghero Stefano Artissunch who also signs the direction (production Synergie Art Theatre). This lively comedy explores the complex dynamics of a couple's life through the story of Giovanna and Massimo, who choose to confess their extramarital affairs. While she seems to take her husband's infidelity for granted, he, despite his numerous lovers, discovers the pangs of jealousy when faced with his wife's one betrayal. Suspicion falls on a family friend, Claudio, whom Massimo identifies as his rival, and during a three-way dinner, the unsuspecting guest finds himself the center of attention in a crescendo of hilarious and embarrassing situations with a finale yet to be revealed.

Tribute to Gigi Riva – Friday, January 31st at 9pm – with “Riva Luigi '69 '70 – Cagliari in the days of the Scudetto”, a show written, directed and performed by Alessandro Lay with sound project by Matteo Sanna, light and sound design of John Schirru and scenography of Mario Madeddu, Marilena Pittiu, Matteo Sanna and Giovanni Schirru (production Each Theater). An original play, inspired by the figure and sporting achievements of the great footballer, but also by his extraordinary character as a man, reserved and shy, away from the spotlight, and by his extraordinary talent for the ball, the formidable shots that earned him the nickname "Rombo di Tuono" (Thunderbolt). Gigi Riva from Leggiuno, who led Cagliari to the Scudetto and made Sardinia his second home, is the hero of a modern epic, a symbol of an era: "I don't remember much about the 'scudetto,' but I remember what the city was like..." – says Alessandro Lay. – "And I vaguely remember a shy boy, sometimes smiling, who always looked the other way when they interviewed him. A boy who would punch the ground and run all over the pitch every time he scored a goal...".

The banality of evil, which creeps into everyday life – Friday, February 14th at 9pm – with “Hitler's Food Taster”, a show of Sandro Mabellini freely adapted from “The Tasters” by Rosella Postorino, with Silvia Gallerano e Alessia Giangiuliani and with Marlene Fuochi (accordion and voice), dramaturgy of Gianfranco Pedullà e Rosella Postorino, original music by Francesco Giorgi, light designer Gianni Pollini and sound designer Jacopo Cerolini, scenography of Giovanna Mastantuoni and costumes of Veronica Di Pietrantonio (production Popular Art Theatre). Inspired by a true story, which writer Rosella Postorino adapted into a successful novel (winner of the 2018 Campiello Prize and the 2019 Prix Jean-Monnet), the play tells the singular adventure of Rosa Sauer, a young woman chosen along with nine others to "test" the foods destined for the Führer and protect the leader of the Third Reich from possible poisoning. "For a long time, I had been in places I didn't want to be... I kept surviving every time someone was taken from me," says Rosa Sauer. "The ability to adapt is the greatest human resource, but the more I adapted, the less human I felt.".

A fascinating and poetic “hymn to life” – Friday, February 21st at 9pm – with “The gratitudes” from the novel by Delphine de Vigan, adapted and directed by Paul Triestino, also protagonist on the scene together with Lucia Vasini, Lorenzo Lavia e Valentina Bartolo (while Muriel's voice is Anna Gualdo), scenography of Francesco Montanaro (made by Wrought Iron Workshop Of Paolo Bellina), costumes of Lucrezia Farinella, light design of Alessandro Nigro, original music by Massimiliano Gagliardi, choreographic movements by Erika Puddu (production a.ArtistiAssociati / Theatre Production Center). A simple yet exemplary story, that of Michka, a proofreader of Polish origins who for years cared for Marie, the daughter of a neighbor, filling the gaps and absences of a troubled mother. But as she grew older, she fell ill, her mind stopped working, and she "lost the words." Marie, along with Jerome, a young and passionate speech therapist, accompanied Michka on her final journey, "determined to say thank you to all those who helped her, especially those who saved her as a child from Nazi extermination.".

Between myth and actuality – Friday, March 14 at 9pm – with “Andromache” from Euripide, a show of The Sandbags e Massimiliano Civica, with Gabriele Carli, Giulia Gallo, John Guerrieri, Enzo Iliano (production Lombardi-Tiezzi Company, in co-production with The Sandbags): an ancient tragedy that emphasizes the consequences of war as well as family conflicts and power games. The play tells the story of Andromache, Hector's widow and mother of the infant Astyanax, barbarously murdered by the victors after the conquest of Troy. A prisoner of war, she becomes the slave and concubine of Neoptolemus, king of Epirus, son of the hero Achilles and husband of Hermione, daughter of the beautiful Helen and Menelaus. The Trojan princess, who has a son, Molossus, by Neoptolemus, seeks refuge at the altar of Thetis (the Nereid, mother of Achilles) due to Hermione's jealousy, who threatens to kill her during the king's absence. At the height of pathos, the news of Neoptolemus's death further shuffles the cards, in a drama with themes and rhythms almost reminiscent of a farce, where the grotesque aspects and the fine line between farce and tragedy emerge.

Irony on stage – Friday, March 28 at 9pm – with “It's not true but I believe it”, hilarious comedy by Peppino De Filippo with Enzo Decaro, Carlo Di Maio, Roberto Fiorentino, Carmen Landolfi, Massimo Pagano, Gina Perna, Giorgio Pinto, Ciro Ruoppo, Fabiana Russo and Ingrid Sansone, scenes of Luigi Ferrigno, costumes of Chicca Ruocco and light design of Peter Sperduti, directed by Leo Muscato, one of the most interesting and original artists of contemporary Italian theatre (production I Two of the City of the Sun). "The miserly, extremely miserly entrepreneur Gervasio Savastano lives in the constant nightmare of being the victim of jinx. His life has become a veritable hell because he sees ominous signs everywhere: in the people he meets, in the correspondence he finds on his desk, in the dreams he has at night," says Leo Muscato, who with this mise en scène pays homage to the great Neapolitan actor and playwright, with whom he began his stage career. "It's Not True, But I Believe It" describes, in an irresistible crescendo of comedy, the stratagems deployed by the protagonist, played by a histrionic Enzo Decaro in the role formerly played by Peppino De Filippo, to indulge his obsession, so extreme it borders on madness...

A refined metatheatrical game – Monday, April 14 at 9pm – with “Othello”" Of William Shakespeare in the rewriting of Francesco Niccolini, with Joseph Cederna in the role of Iago and with Giuliana Colzi, Andrea Costagli, Dimitri Frosali, Lucia Socci, Lorenzo Carmagnini, Richard Naldini e Elisa Proietti directed by Emanuele Gamba (production Blue Ark). The famous Elizabethan tragedy transposed into a puppet theater, as in Pasolini's dazzling synthesis of "What Are Clouds?", starring Totò and Ninetto Davoli and Domenico Modugno as a "garbage man," Franco and Ciccio, Adriana Asti, and Laura Betti: a demonic Iago, a sort of guardian of hell, evokes the story of the Moor of Venice and the beautiful Desdemona, or, according to Francesco Niccolini, a "surreal and ridiculous tragedy, made of betrayal, suspicion, and jealousy." A new version of the famous drama projected into a dark universe, where neither innocence nor goodness exist, but only "little scoundrels, profiteers, and characters incapable of resisting temptation," and where Iago sets up his theater, "in which false words ignite real passions that lead straight to epilogues of death.".

taken from reportsardegna24