Now or never - December 4 to review the show Municipal Moncalvo E 'bravo Fabio Pasciuto in the role of the troubled psychiatrist Thomas Necromancers, the protagonist of the intense show,' Now or Never ' presented to the City of Moncalvo the evening of Saturday, December 4.
joined him on stage a wonderfully versatile Chiara Buratti, natural freshness that gives life to the many female characters involved in the mental torment of the Necromancers, said that to become a professional that he abandoned his life as cambiodel success, to be confronted with 'less fear of death than of life '.
composite and well-articulated and directed by Alex Bertoli, who manages to run clear and understandable way the intricate story told from the play, expertly drawn (again by Bertoli) from the book by Guillaume Musso 'I I come to find '.
not easy to interpret, the spectacle offered with admirable balance of the two young actors, is well staffed in every narrative detail, the fluid goes in every digression 'outside' of the story, keeping tight at all times the public's attention ( just distracted by some applause from the bottom room forced the closure of the first scene, probably started by an insecure and apprehensive claque, not up to the professionalism of their favorites).
The intensity and ease of interpretation of the two on stage are like a large and welcoming embrace balance and leads to the goal with all the unpredictable security place of this extraordinary tale of life: a history of action that is already in itself a compelling, exciting thriller about a story which clings' interiority which is a blow going down to the heart.
Calibrated effective, fully integrated during the performance stage, movie clips of external (media, edited by Luca Tacconi) screened with simple but clever technique, the absolute minimum ingenious inventions stage, as the projection light of the gigantic clock that marks the succession of the days when the story develops, the effect of small details (the shooting, the killer), show as wide and deep work of meticulous preparation and passionate design and clever fantasy of a director lilting rhythms nimble and light, are able to let the imagination of the public who attends the show actively participating with their own imagination, like reading a good book.
Lights and music are well measured strokes of atmosphere that blurred the background of the two interpreters in the bare and rough scene, rich only essential inventions absolute minimum (props by Mac): wonderful idea, the arrangement of quell'astrusa unlikely and the wooden chair, an almost reinvented the boundary between liberty and decorative excess linear stylization, which side of the stage acts as 'home corner', or rather, 'instead of thinking' of the protagonist, almost a 'throne' of the superb mental sloth that dominates the thoughts of the successful psychoanalyst at the start of his extravagant tale of living history.
The finish is a surprise, and really surprised the audience (not as numerous as the show deserved) at the end, wound up the tension that captures it all the time and winds of the show, clapping along to with enthusiasm. Already
interesting and good, the show has plenty of room to grow in consciousness: even more depth and definition in the characters of the characters and situations, even stronger thrust in the original feelings might make it a small masterpiece.
OTHER IMAGES OF TOMORROW SHOW
