‘La Donna è mobile’ returns to the scene after more than a centenary of its debut and it seems to have not aged a wrinkle!

by Claudia Pariotti

The second theatrical appointment by Saponaro al Trianon Viviani for the mini review onScarpetta legacy. After Titina the Magnificent it’s time for Woman is mobileoriginal work by Vincenzo Scarpetta adapted with some contemporary elements by the director Francis Saponaro (the curtain opens after a rider, humming one of the most famous songs of Set freestaged a cake being served at a Belle Époque banquet).

Vincenzo Scarpetta, who had made his debut at the Trianon in 1911 with his father’s comedy Poverty and Nobilitywrote in 1918 this rich musical parody full of references to nineteenth-century opera and with hilarious comic notes.

The synopsis: a young girl from the Neapolitan upper class, Giulietta Sazio, organizes a party for her birthday at the end of which she will choose which of her two suitors to marry. In the meantime, the servants of her suitors and of the rich baron Don Ambrogio show up one by one, from whom both bachelors I believe I can inherit the fortunes.

As in the best comedies of Moliere here too the role of servants is fundamental, both as the perfect sidekick for the most highly placed characters and as the most authentic expression of the animosity and truthfulness of Neapolitan society.

The guests belonging to the aristocracy, however, full of mannerisms and French terms thrown here and there, they pose with hilarious nonchalance as masters of the earth while remaining extremely sensitive to money and to any occasion to take advantage of kindly offered dinners and lunches. One of the two suitors, the less attractive one, belongs precisely to this category and will be the bachelor who will then win the inheritance of the rich baron.

However, a series of accidents and a lucky find will reverse the situation, in favor of the one of the two bachelors who had suddenly ended up in poverty.

The work is a recipe for comedy sketches and parodies of lyrical excerptseffectively mixed by the then Scarpetta who in the early twentieth century had developed an idea of ​​theatricality steeped in his father’s legacy but pushed towards new frontiers, such as the one testified to us by this work, which almost seems to fit in the wake of American musicals .

After all, Vincenzo was the true artistic liaison between the Scarpetta family and De Filippo, he knew how to create new elements with which to rework the progenitor’s comedy Eduardo Scarpettaand at the same time he continued to bring his father’s legacy to the stage, thus giving the de Filippo brothers the real opportunity to be able to train by actively participating in the countless reruns of Scarpetti’s shows.

A large group of actors, highly capable of measuring themselves with the passages present in the text, is guided by the maestro Bellopede with which Saponaro has been collaborating faithfully for years. On stage the very good ones Ebbanesisa duo formed by Serena Pisa and Viviana Cangiano, who show off all their singing and theatrical skills.

The young woman is also highly appreciated by the public Federico Totaro as Rosina, the maid of Signorina Giulietta. And then again Tony Laudadio, Louis Bignone, Joseph Brunetti, Marcellus Romulus, Biagio Musella, Luca Saccoia, Ivano Schiavi, Elizabeth D’Acunzo, Salvatore Caruso, David Mazzella, Ivana Maione for a company happily amalgamated by great artists, more mature and established, with talented and passionate young actors.

ph®Pino Miraglia

‘La Donna è mobile’ returns to the scene after more than a centenary of its debut and it seems to have not aged a wrinkle!