La Grande Magia promised Professor Otto Marvoglia the banner on the curtain. He went up the stage and showed the balcony in the evening light: the Hotel Metropole, summer guests, three women in deck chairs, talking and laughing, a baron reading the newspaper, in the middle a little girl and two older men Clad in bright suits, the fun-loving aristocrats and accomplices of the magician praise his arts and arouse their curiosity.A gust of wind sweeps, sand and scraps of paper flow.
Eduardo Di Filippo’s “The Great Magic” began in 1985 with scenes like those from Fellini at the Piccolo Teatro in Milan: letters, tones, standing and gestures, costumes unleashed a fraudulent drama, where it was a philosophical game of truth and illusion, there is deception and deception in the time of its creation . Written by the Neapolitan comedian in 1948, it premiered the following year with his band on tour in Trieste. It has only been seen on television since then. And now it’s back: in a idyllic production by Giorgio Streller, who wanted writer Di Filippo out of the shadow of actor Di Filippo. But shortly before the start of rehearsals, Eduardo died, as he is called only in Italy. Rediscovery has become a veneration.
“Travel aficionado. Certified problem solver. Pop culture guru. Typical writer. Entrepreneur. Coffee trailblazer.”