An extraordinary comedy, refined and chaotic, comic and cruel, ridiculous and mad; written in 1981, eight years later it became a blockbuster hit directed by Danny De Vito.

“Love exists if there is no deceit, therefore LOVE does not exist. Our attempt – states Latella – has been to work on the absence of and search for love, by borrowing the greatness of Torquato Tasso’s verse”

“It’s not necessary to put characters on stage – explains Peter Brook in an interview with the Corriere della Sera –, at the heart of my theatre there has to be a story to tell, that is transmitted directly to the spectator’s imagination. Doing theatre is like talking to children, it’s about creating empathy between the narrator and the listener. And with this particular story, I’d like to transmit the theme of redemption to the audience”

eatro Cucinelli presents an event not to be missed featuring John Malkovich, one of the most distinguished and sophisticated artists on the world scene with no fewer than twenty-five awards and twenty-six nominations.

This performance portrays the beauty of Japanese gardens in a tale told through images and dance. Japanese gardens are worlds in miniature, and their origins are found in a story: Shiro, a brave young boy, is the first to leave his small mountain village and reach the sea, the ocean… He can go no further.

Dieci storie proprio così is an integral part of “Il Palcoscenico della legalità” (A Stage for Legality), a project promoted by Libera (an anti-mafia association), Fondazione Pol.i.s. (the Pol.i.s. Foundation), The “Giovanni e Francesca Falcone” Foundation, Centro Studi Paolo Borsellino (The Paolo Borsellino Research Facility), The University of Milan – Sociology of Organized Crime Course, Coordinamento campano dei familiari delle vittime innocenti della criminalità (Campania Organization for the Relatives of Innocent Crime Victims), Fondazione Silvia Ruotolo (the Silvia Ruotolo Foundation), and Italiachecambia.org. It’s sponsored by the Italian Ministry of Justice and the Italian Ministry of Cultural Heritage and Activities and Tourism.

Domenico Starnone gives us a touching and deeply intense story, a masterful tale of an escape, a return, and all our failures: those that seem to be insurmountable, and those that keep us company throughout our lives.

Directors cannot help but be slightly wary of Beckett, that creator of cages that are so constricting that there’s little freedom to intervene or invent when staging a work which is so carefully dictated by his written words.