It often happens that the many remakes we are used to at the cinema and in the theatre are not up to the standard of the original, disappointing expectations, while too often we import foreign productions by copying and pasting them which do not give space to our typically Italian artistry.
None of this happened with Cyrano, a musical comedy that enchanted the audience at the Augusteo in Naples.
We are faced with a blockbuster that flows with perfect rhythms, featuring a first-rate artistic cast, supported by music, verses, costumes and scenography capable of projecting spectators into a fantastic world made of swordsmen, love and passion, giving vibrant emotions to a literally hypnotized audience, suddenly plunged into the 600th century.
In short, two hours of pure emotion in a packed house, sealed by thunderous applause and the musical Cyrano has to do with the goal of bringing back on stage the most famous swordsman with the long nose. Who is desperately and romantically in love with his Rossana, in the historic version set to music by Domenico Modugno in 1978 based on a script by Riccardo Pazzaglia, without making us regret the original version.
The show is classical in style, faithful to the great artisanal theatrical tradition made of imposing and varied wooden sets, enriched by refined props, historical projections, well-studied lighting effects and splendid period costumes: and it is precisely this perfect union between tradition and evergreen feelings such as love and passion that the show remains current, also thanks to driving and exciting musical arrangements.
The narrative scenes follow one another with smoothness and well-balanced rhythms and some scenic solutions are truly original and effective, such as the slow motion battle for example where the duelists disperse among the audience: a fine direction, conceived by Bruno Garofalo, who reveals himself to be a fine connoisseur capable of lightly managing complex scenographic interlockings with numerous artists on stage.
The whole operation obviously rests on Cyrano's shoulders and therefore a solid actor is needed for this role which cannot be improvised.
A role that Gennaro Cannavacciuolo has prepared without a shadow of a doubt with great care. He is magnificent for the naturalness of his speaking of love, for the precious irony and cheekiness of a perfect Gascon, for his impeccable swordsmanship, for his vocal range and timbre that even surpass those of Domenico Modugno: a robust interpretation of his, aimed at leaving a magnetic and indelible mark.
Cosima Coppola plays Rossana, known as a good actress, who holds her own on stage and also reveals herself to be a good singer with an angelic voice, while Gianluca Di Gennaro gives his Cristiano an innovative touch, playing him in a casual but convincing way.
The cast includes all the supporting actors, dancers, acrobats and swordsmen trained by the Master of Arms Flaviomassimo Grumetti, and the contemporary musical arrangements give a touch of freshness to the show.
Applause is therefore more than deserved for a show of rare beauty that should be protected as a theatrical heritage and from which the younger generations can draw inspiration as an example of great theatre.
EDITORIAL TEAM
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