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Directed by & nbsp; Gianluca Guidi

Production of & nbsp; Alessandro Longobardi for OTI Officine del Teatro Italiano in collaboration with Viola Produzioni

The story, loosely based on & ldquo; After me the deluge & rdquo; by David Forrest, narrates the adventures of Don Silvestro, pastor of a mountain village, who one day receives an unexpected phone call: God himself instructs him to build a new ark to save himself and his entire country from the imminent second Great Flood. The young parish priest, aided by his fellow villagers, succeeds in his undertaking, despite the avid mayor Crispino who will try; to obstruct him in every way and the arrival of Consolation, a woman of easy manners, who put her in; the men of the village are severely tested, but who fall in love & agrave; by Toto and accetter & agrave; to marry him.
When the time comes to go up to the ark, a cardinal sent from Rome convinces the people of the town not to follow Don Silvestro, accusing him of madness, so-what; on the ark, under the deluge, only he and Clementina, the young daughter of the mayor, always been madly in love with him. The young curate decides for & ograve; not to abandon his country and his friends and God, seeing his project fail, makes the flood stop. To toast to the happy ending Don Silvestro adds a place at the table for & hellip; Him!

Add a Seat at the Table!
Re-staging Add a Seat at the Table!
When Alessandro Longobardi asked me to try this, I must say, the enthusiasm & egrave; immediately skyrocketed; then (a bit r & rsquo; as Don Silvestro that with the hammer, looking at the ark back to the public, says & ldquo; & hellip; it's okay to do & ograve; alone & hellip; alone & rdquo; to then collapse on s & eacute; itself) the sense of reality & agrave; got the better of it. The Garinei Theater & amp; Giovannini does not & egrave; never was it easy to repeat, paradoxically, not even for themselves. The genesis of numerous shows conceived by the famous couple was always a perfect mix of authorial ideas, proven directorial construction, creative team of excellence, and, last but not least, the interpretative contribution of real sacred monsters of the stage, ultimate witnesses of a actor's and profession's generation, by now d & rsquo; extinction.
In the case of the show in & ldquo; object & rdquo ;, we are talking about a global success, set up in almost every part of the world, except only the US market . A Babel of languages, attitudes, sounds, costumes and lights & hellip; all under the walls of an ark ready to rebuild the world. I personally remember, of course, the many paternal versions (chiss & agrave; what would have been Don Silvestro without him), including that of London in which he forgets himself; for six months of being Johnny Dorelli, and became an extraordinary Anglo-Saxon actor & hellip; I never got any more; visa cos & igrave; different from itself and so & quot; extraordinarily good & hellip; I obviously remember the 2009/10 edition I interpreted & hellip; and then I remember the first one at the Sistine Chapel in 1974 in which it was opened; the curtain the voice of God begins & ograve; to speak and from the stage arriv & ograve; a wave of scents and notes & hellip; and it was immediately magic & hellip; which has lasted for 43 years. How to avoid betraying it?
Meanwhile, the duty of a director should be to not betray the authors & hellip; above all (given the advantage it entails) in cases where the matter is consolidated and above all proven success. Add a Seat at the Table & egrave; a fable that speaks of love, of welcome, of new life to be invented and, possibly, to improve, of human beings who have the possibility; to create a new world & hellip; and why & eacute; no? Also of faith & hellip; tiny for writing but absolutely capitalized if understood as self-confidence, in the next and in the future.
I have to thank Alessandro Longobardi for many reasons.
The first one, surprising: he was able to create a & ldquo; family & rdquo; theatrical, directed by the ever-present and available Carlo Butt, who has no equal in the Italian theatrical world except in the ambit of acclaimed Public Theaters. The level of professionalism very high that I found in the Brancaccio Theater deeply amazed me and left me in disbelief.
The second: the profuse investment for this show & egrave; gigantic. I imagine it difficult to sustain if it were nothing but psychologically.
Yet nothing is missing from this edition of Add, in fact there is &; pi & ugrave; than a common mortal performer like me could imagine. And without having done
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