In April/May 2015 I collaborated as dramaturg and director with three performer-choreographers – Lori Hamilton, J Reese, Sarah Starkweather – and musician Ken Kruper on a dance piece that aimed to capture the spirit of a neighborhood as it changes over time. New people are first attracted and then pushed out in a constant recursive flux that materializes at different times during the exhibition through movement and music.
Between April and May 2015 I was invited to my second artist residency with Forwardflux for three weeks of intense collaborative exploration of how neighborhoods are transformed, gentrified, or even colonized. Through meetings once a week with the whole group of participants and more intimate rehearsals with two smaller groups, for the first time I worked as dramaturg of a dance piece, Changing Neighborhoods. For the exhibition program, click here.
Stevens Theatre, Gettysburg College, Gettysburg, PA
An adaptation in four parts for the students of my Modern Italian Theatre course. Based on a list of physical actions, we devised and rewrote four versions of the same play, which was set, in turn, in an informal college environment, a morbid Eighteenth century, a flashback from the point of view of one of the minor characters, and a world of puppets.
An account of the theory underlying this course can be found in my article “The Short Play and Postmodernist Stage Directing: A Virtual Experiment with Pirandello’s Cecè.” published in Quaderni d’Italianistica 32.2 (2012)
S. Giovanni Bosco Theatre, Modena, and San Martino Theatre, Bologna, Italy
By special arrangement with the Yourcenar Estate, I presented this monologue within the context of the “La manica tagliata” (The Cut Sleeve) LGBT festival, with Francesco Stella as the protagonist. Since the piece is particularly long, it offered a challenging field for experimentation in the areas of dramaturgy, storytelling, and composition.
For this dinner theatre show, I combined scenes from Verdi’s opera and Dumas’s Camille (La Dame aux camélias), with music played by an ensemble directed by Alessandro Nidi (Parma Conservatory). Two sets of performers, four actors and three singers, led the audience into the depths of passion as seen through the different conventions of spoken and musical theatre. The show had a lot of coverage in the newspapers and on TV since it was held during the year of the celebrations for the first centenary of Verdi’s death.
Read a series of articles published by the newspaper Gazzetta di Parma including a glowing review by Valeria Ottolenghi here. (in Italian, translations coming soon…)
Here is an 11 minute promotional video of the show:
I was called by Numeriprimi, a company of young actors who had just graduated from a professional course supported by the European Union. I chose The Two Gentlemen of Verona based both on the composition of the group and the script’s opportunities for physical theater. Each song is a Shakespearean sonnet, translated into Italian. With original music by Marco Caronna, played by Luca Savazzi, the show came to resemble a musical.
Below you find both an 8 minute promo video and the two parts of the full show:
This extended monologue was a stimulating collaboration with Cecilia Vecchio, an actress from Teatro della Tosse (Genova), on a dramaturgy juxtaposing several female characters from Eduardo De Filippo’s oeuvre. I collaborated on this project to weave the different scenes into a coherent performance, which became Un caffè sospeso, a reference to the Neapolitan tradition of leaving a cup of coffee paid for, for the next customer who might need a free one.
Teatro Comunale Concordia, San Benedetto del Tronto, Italy
The first show where I experimented with brevity and improv together. One of the four actors and I produced a minimal version of Hamlet, and offered the audience the opportunity to choose the style they wanted it played, form serious to comic, spoken or musical-style.
School of Dramatic Art “Paolo Grassi” – Sala Colonne, Milan, Italy
In this dramaturgy of two of Shakespeare’s Roman plays, scenes from Julius Caesar and Anthony and Cleopatra explored Antony’s character in its entirety. Three male actors played all the roles including Cleopatra and the Roman mob, and this brought about many inventive solutions in a mixture of tragedy and comic moments.