Teatro Faiano Reviews
I couldn't leave Italy without seeing a production of Puccini. I found tickets for Madame Butterfly through Classictic.com and was very pleased with their service. The theatre is a little run down... more »
I must tell that it's not the classic opera performance for those who are looking for that. It's small theatre which performs operas in short versions on the stage without decorations, but with... more »
Opened in November 1928 under the name Theatre of the Children by Cavalier Gioacchino Flamini, president of the Savoy circle, it was run since 1934 by his wife. The shows that were represented were entitled Cinderella, Red Riding Hood, The Cat in Boots, The Shepherd Princess. In 1944 it changed its name to Harlequin Theatre, a meeting place of artists and intellectuals such as Anna Magnani, Valentina Cortese, Luchino Visconti, Vittorio Caprioli, Gianrico Tedeschi, Bice Valori, Monica Vitti, Valeria Moriconi, Gianni Agus and Raffaele Pisu. After a routine period it will be Aldo Fabrizi who will give him new life and new clothes. In 1969 it became The Ennio Flaiano Theatre (in homage to the writer from Pesca who here represented, along with other intellectuals of the time, his "pocket theater"). In 1990 the management of the theatre passes from the theatre of Rome to the Theatre and Society in the person of Pietro Mezzasoma who completely renovates it and manages it until 1996 the year in which the artistic direction will be entrusted to Maurizio Costanzo, in these years will alternate artists such as Valeria Moriconi, Anna Proclemer, Glauco Mauri, Octavia Piccolo, Paolo Poli, Piera Degli Esposti, Sandro Massimini, Maurizio Micheli, Lucia Poli, Giorgio Albertazzi, Franco Graziosi, Leopoldo Mastelloni. In 1997, it was taken over by Pro.s.i.t. by Gabriella Callea who entrusted the artistic direction to Rossana Siclari. In recent years, the theatre has tried to identify its own path and physiognomy that stood out, even with productions, adopting a series of courageous and innovative initiatives such as the project of the Little Lyric (great famous works reduced to an hour and a half , represented with singers, live music, scenes, costumes) repaid by the great consensus of critics and audiences. Private management, although more problematic, allows a wise choice of hospitality, aimed mainly at debuts and unconventional shows, with an eye on contemporary drama that ironically addresses the great classics or original and universal situations. Among those who have performed in recent seasons, we remember the humor of the Donati-Olesen Company, the inventions of Stefano Benni with Lucia Poli, prodigal of caustic portraits of women's literature of all time, the scaramantic way of a musician like Sergio Cammariere, the poetry of Yves Lebreton, the tofanesque mask of Pino Strabioli, the pure fun of the musical Nunsense of the Company of Rancia by Saverio Marconi, the priceless grace of the actor Quince as Marlene Dietrich and the same Ennio Flaianointerpreted by Roberto Antonelli in the show-homage Maybe with time knowing us worse, written by Gianna Volpi with Rosetta Flaiano, directed by Rossana Siclari and awarded in 2002 with an award of the President of the Republic, Carlo Azeglio Ciampi. The theatre is based in St. Stephen's Street, 15.
Elegant and with good programming, but the wear and tear of time begins to show. Most of the rooms are quite dated even if they are manicured and clean. We saw Dr Jekyll and mr Hyde. The actors were very good, very heartfelt interpretations. The scene is also cute, but unprocessed and always the same for the duration of the show. There had been more scenes I would have given at least 4. However recommended!
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