Adriatico Blues is a picturesque bar above the sea, dragged by underground currents, hidden in the maze of our memories; it is a magical hat from which a bit of everything jumps out, a fun work open to various solicitations, conceived and directed by Massimo Navone. It starts from Trieste with the declared intention of welcoming, in the path that will follow the voices of the Adriatic here and there, the sea from the shores facing each other, shores that can be seen when the skies are clear and the air is clean, that same air that you breathe and feel on the skin after every great storm, generated from the furious but healthy dark Bora wind.
The show, directed by Massimo Navone, is set in the old office of the Astorina, the Milanese publishing house where Diabolik's comic was conceived.
In a Hopperian atmosphere, in which an apparent dull daily event reaches a surreal dimension, the human side of Diabolik bursts into the reality of one of its creators, claiming its freedom and that of his future together with Eva Kant.
I comportamenti individuali e sociali dei protagonisti omosessuali vengono esplorati sotto la luce di due diverse epoche a distanza di cinquant’anni: gli anni ‘50 e i nostri giorni (2015), suggerendo la persistenza di alcuni aspetti del passato nella condizione attuale. La scenografia riflette questo confronto, che è piuttosto serrato, dato che i passaggi fra un’epoca e l’altra si susseguono per ben nove volte durante lo spettacolo. Due salotti inglesi, uno anni ’50 e uno contemporaneo si alternano nella scena, lasciando sempre trasparire parti del passato. Un parco notturno e misterioso, lo studio di uno psichiatra e quello di un editore completano gli ambienti necessari al racconto.
The result of an empathy with the director, in just three months it was possible to deny the temporal place of the play. An ageless technological wall, summing up different eras, blocks the proscenium. Together with Bagnoli, the lighting designer, we placed the controls within the technological wall, together with the tecnhnicians operating them. This choice is linked to a reading of the text that interprets the whole story as a fantasy of Else, as if everything that surrounds her is only the fruit of her imagination. Therefore a non-place.
I was provoked into creating this scene which was also the start of my activity as a set designer. The director, Alberto Rosselli, imagined places that would lead to a feeling of compression and restlessness, to render Strindberg's text in spatial terms. The characters are forced by inner paths, made physical by the scene / labyrinth that almost shows the public their secrets. This labyrinth is the metaphor of all their family relationships, of the changing hierarchies. The 40 sqm sloping platform acts as if it were a space, a single space, which expresses the relationships between the characters.
This opera, which preceded Don Pasquale, needed numerous scene changes. We hypothesized that the actor-singers sat outside a curtain acting as spectators, in order to facilitate the various scene changes. All framed by the stage curtain in front of which the singers perform while waiting.