CARLENTINI – Hilarious evening at Carlentini’s Turi Ferro, with the all-Italian comedy, extraordinarily performed by Biagio Izzo, in the role of the protagonist Tarallo, a victim of taxes. The theater company boasted other characters beautifully played by Mario Porfito, Magdalena Grochowska, Arduino Speranza, Roberto Giordano and Adele Vitale. Costumes by Marianna Carbone, music by Antonio Caruso, lighting design by Francesco Caruso, executive production by Giacomo Monda. The situations are spread over a scene, curated by Luigi Ferrigno, which divides the reality represented into two dimensions. We are talking about the scenography of a Japanese-Neapolitan restaurant in which the life of a man takes place who adopts a strategy to launch his restaurant, tries to avoid taxes and at the same time explains the motivations of today’s man who, in order to survive, is forced to bend to this choice. The other side of the scene takes us inside the office that represents the law and legality. Here, situations are managed and “governed” by the figure of the rigid and severe marshal, who explains the importance of honesty and observation of the rules. A comparison between two current issues and at the same time as old as man. Thus, the public becomes an interlocutor of topics that belong to the modern man who lives a life divided between work, feelings, moods, family, sacrifice and taxes. From the outset, the comedy has held the interest of an audience attentive, amused and eager to know the next joke. The beautiful Neapolitan vernacular was the main tool that made it possible to color all the situations enlivened by the articulation of a play on words and caused misunderstandings, which resulted in a collective and deeply felt laughter. The aspect that immediately emerges is the extraordinary way in which the author-director Eduardo Tartaglia has managed to create a weaving of texts, in which the plot intertwines in a smooth and undisturbed way, funny jokes and serious reflections. The sustained pace of the dialogues, the vehemence of the voices, the musicality of the Neapolitan dialect, the smoothness of the situations and the pressure of events, have created fertile ground for the talented Biagio Izzo and his equally extraordinary colleagues. The theater thus becomes an open book on the stage, the book of man’s history that repeats itself with its mistakes and reflections. Through the character, the man in the audience retraces his life and reflects together with the actor who, in that moment of introspection, becomes the mirror of every individual in the audience.
