This year, Sannazaro received recognition from the Ministry of Cultural Heritage and Activities as a Theater Production Center, thus becoming part of a very limited number of artistic entities at a national level. It has not lost its initial vocation, but has also added a series of alternative, dynamic proposals to its great tradition, to respond to the needs that its new course requires and to approach a different audience and keep up with the times.
The next season collects and increases the concept of the previous one, which celebrated the city in an ideal path strongly rooted in the territory and goes beyond. A true evolution, a journey of the theater of Naples towards Europe. Many lines ... one theater, declined in a broad sense. From the support and rediscovery of the great classics of the Neapolitan tradition, to the national contemporary theater, from the line a volte ritornono, designed to propose again the most interesting shows present in the programs of the previous seasons, to the new productions such as Interiors, in dialogue with foreign countries, from music 2.0, to the classical music review curated by the Associazione Scarlatti.
Another change this season is represented by the opening of a new room, La Sartoria, a small but fascinating space of the Teatro Sannazaro for about fifty spectators, the place where the theatrical tailoring of the Luisa Conte company was located, where creative residency projects on contemporary dramaturgy, the Cantiere Sartoria, performances, open rehearsals and meetings with artists will take place.
For the “Tradition Line: ours” we start on October 16 with “Masaniello” by Elvio Porta and Armando Pugliese directed by Lara Sansone; a choice that is not accidental because this project is perfectly in line with what has been proposed in past seasons, just think of the “Festa di Montevergine” and “Festa di Piedigrotta” by Raffaele Viviani, choral works, courageously produced by the Sannazaro theater, with a total staging, designed for the hall in via Chiaia, canceling the theatrical canons and therefore reconsidering the stage spaces. From December 18, “Cafè Chantant Sparkling edition”, a highly successful show, which will be on stage for all the Christmas holidays. “Che serve questi quattrini” by Armando Curcio directed by Giuseppe Miale di Mauro, on stage from January 18, with Francesco Procopio and Pietro De Silva What; is there anything more current than the value of appearance? The protagonist of this comedy with a stratagem will show us that it is enough to make everyone believe they are rich to become worthy of unlimited credit. "Money is a trick, it only serves to appear to be what you are not!" Transported to the present day.
The great classic “Annella di Portacapuana” by Gennaro Davino, the show that inaugurated the Sannazaro theater in 1971, will be on stage from January 29 with Leopoldo Mastelloni as the protagonist, directed by Lara Sansone. “Un ragazzo di campagna” by Peppino de Filippo directed by Luigi De Filippo, performed for the first time at the Teatro Nuovo in Naples in 1931 and which was one of the first successes of the De Filippo brothers, Eduardo, Peppino and Titina, is the tribute that the Sannazaro wanted to pay to the great artist who passed away and will be on stage from February 22.
From March 1st Benedetto Casillo proposes “Don felice Sciosciammocca e l'elisir d'amore” freely adapted from “Les dragèe d'Hercules”, performed for the first time in Paris in 1904. An opera that can be considered original in all respects for the new ideas and flashes of imagination typical of the Neapolitan actor. “Un italien a Paris” is the proposal by Gennaro Cannavacciuolo on stage from April 5th, a recital with the songs of Montand, but also a long journey from the Tuscan hills of Monsummano Terme to the Metropolitan in New York, passing through Hollywood; from the slums of Marseille, to the post-war Parisian cabarets up to the failed candidacy for the Elysée in 1988.
For the “Contemporary Line: Research” we start on November 16 with “Squalificati” directed by Luciano Melchionna with Stefania Rocca, Andrea de Goyzueta, Fabrizio Vona. A refined game, a chess match exclusively between king, knight and opposing rook between declinations of power, unscrupulous strategies and judgment imposed from above, with surgical and amiable cynicism, by those who claim it is impossible to get your hands dirty. All seasoned with accusations of harassment, ambiguity, reversal of dynamics and roles, blackmail and Hamlet-like choices between career and family.
“La divina Sarah” by John Murrel “Memoir” directed by Marco Carniti with Anna Bonaiuto, Gianluigi Fogacci will be on stage from November 23rd is an act of love for an immortal diva. A woman who with her art and her extravagances has built the first example of stardom in the history of female entertainment. Michele Sinisi, from November 30th, proposes “Miseria & nobiltà”; Scarpetta’s farce free from the Neapolitan dialect and with the use of different dialects, plays to represent reality and fiction, leveraging the suggestions evoked by this text. From December 7th Francesco Montanari is the protagonist of “Poker”; a restaurant. The owner and his son, two waiters and the cook. Every Sunday evening, after closing, they go to the basement of the restaurant and play poker all night. The life of the five is marked by this habit, their passions and their hopes are condensed in this night of mutual challenge, in which they seek redemption and glory.
“Ecce home”, written and directed by Antonio Capuano from a story by Carmen Pellegrino with Marina Confalone, will be on stage from January 25th; Matilde Sorrentino was killed in Torre Annunziata on March 27.3.2004th, 6, on the doorstep, with 26 gunshots to the face fired by a 49-year-old. She was 15 years old. The motive for the crime, it was ascertained, was revenge for having reported the violence suffered by her son from a group of paedophiles who operated in the area, on the outskirts of the elementary school attended by the child. From February 2014th “Play Duett” will feature two of the best performers of Neapolitan theatre, Tonino Taiuti and Lino Musella, winners of the XNUMX “Le maschere” award. The show features improvisation as its dominant element, an apparently playful construction, which makes the piece rich in facets and multiple nuances.
From March 8th “Una tragedia reale” by Giuseppe Patroni Griffi a co-production Teatri Uniti Teatro Sannazaro Centro di Produzione Teatro Stabile di Napoli Teatro Nazionaldirected by Francesco Saponaro with Andrea Renzi, Luciano Saltarelli and Lara Sansone. Twenty years after its writing and first staging I tackle Una tragedia reale (1999), a bizarre and unpredictable piece by Peppino Patroni Griffi. We are faced with a shrewd parodic divertissement, enriched by a popular and virulent lexicon, which seems to come from Basile’s fairytale repertoire, seasoned with a good dose of politically incorrect. From March 22nd Davide Enia is the author and protagonist of “L'Abisso” in which the languages of theatre (gesture, song, cunto) are used to address the mosaic of this present time. What is happening in Lampedusa is not only the meeting point between different geographies and cultures. It is truly a bridge between different historical periods, the world as we have known it until today and what it could be tomorrow.
The contemporary line “Giacomino e mammà” closes, from April 12, in which Enrico Ianniello proposes, in the form of a mise en espace, a new dazzling example of Iberian dramaturgy reinvented at Neapolitan latitudes. Isa Danieli is the protagonist
For “A volte ritornano” (Sometimes They Return), a review curated by journalist and theatre critic Giulio Baffi, now in its second edition, on 14 December “Magic People Show” by Giuseppe Montesano will be staged with Enrico Ianniello, Tony Laudadio, Andrea Renzi, Luciano Saltarelli. In “Magic People Show” (2007), at a dizzying pace of black comedy, Giuseppe Montesano called on stage the television subject, the global consumer, the absolute average man, the slave of advertising, and then the healers of the national economy, the sellers of beaches, the sellers of air to breathe, the sellers and buyers of souls. Ten years later, a new version of that comical, ferocious and colorful pop vaudeville, in a crescendo that mixes comic opera and drama, made of ridiculous monsters drugged by the dream of money, of prisoners deluded into thinking they are free, of revelers who have buried passion and love: a new chapter in the tragicomic theatrical novel of the sick Italy of recent years.
From January 11th “Shakespea King of Naples”, the show that for twenty years has been on the stages of Italian and foreign theaters returns to Naples at the Teatro Sannazaro. The text by Ruggero Cappuccio is interpreted by Claudio Di Palma and Ciro Damiano.
From March 29th “Novecento” by Alessandro Baricco directed by Gabriele Vacis with Eugenio Allegri. After its debut at the Asti Festival on June 27th 1994, there have now been over 500 performances and more than 200 thousand spectators for a monologue that has become a “cult” on the Italian stage. These are the numbers for Novecento, which continues its route, like the transatlantic Virginian, docking in the ports of small and large cities, in small and large theaters. From May 3rd, “Interiors” will be on stage, the first international production of the Teatro Sannazaro. Ten years after the experience of the Napoli Teatro Festival, during which the successful show was born at the Teatro Sannazaro, Matthew Lenton, British director and artistic director of the Vanishing Point company of Glasgow, returns to Naples, with his show in which he will direct Italian actors, selected through auditions in Naples by will of the Teatro Sannazaro, which has decided to give this intriguing project a new life and a new staging.
Music also finds space in the Sannazaro program with the Scarlatti Orchestra and the “Suoni della città” review curated by the “Jesce Sole” association that offers six meetings including the concert by Eugenio Bennato in homage to Carlo D'Angiò and that of Maria Pia De Vito. Much space will also be given to emerging musicians.
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