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GOMORRAH

AN ACTUAL CRITICAL AFTER FIVE WEEKS OF DEBUT:

AS 'THE CRITICS

power of the theater and actors, capable, as in real life, combining absolute tragedy fleeting moments of levity. [...] They move like robots in a desolate area divided into two floors between abusive pillars that serve as dramatic border. Leaving the protagonist, Ivan Roberto Castiglione, the task of linking the many facts. Result in a performance by the great pace, sometimes hyper-realistic, able to drown in the rapid scene changes all the risks of strict didacticism. (Stefano de Stefano, "Corriere del Mezzogiorno)

Underlying dell'allestimento "Gomorra" there is no plan to review in a civil perspective, the relationship between man Roberto Saviano, what he wrote and how that has turned into a story paradoxical, hybrid, full of endless voices and faces, lights, sounds, silences, gestures, movements. The same elements that extrapolated from the work of literature, we find summarized in the action of five prototypical characters, all played with extraordinary emotional intensity. (Francesco Urbano, "Rome")

Two fingers touching the microphone into the darkness of the room. You hear? Feels good: the lights, up a bit 'embarrassed in front of the microphone is Roberto Saviano. Not just him but his alter ego Ivan Castiglione, the actor with director Mario Gelardi has created the show "Gomorrah." The speech that the audience hears is the same as Saviano spoke in Casal di Principe September 23, 2006. Just the same, the writer had spoken off the cuff, Castiglione makes with millimetric precision. With hesitation, repetition and syntax of the jump so that speaks in public, supported only by his indignation. The show unfolds from that speech: Ninety minutes of indignation on the skin, just like that day in Casal di Principe. (Antonio-Tricomi Republic, Naples)

book have bought nearly a million people, while the users of the reduction stage (110 'yarns) can not be for more than ninety-eight hours to play, or how many contain the foyer of Mercadante. They are, however, the privileged, because director Mario Gelardi Gomorra, adapter of the text along with the author Roberto Saviano, is an excellent show, live, vital, exciting, the kind that every now and then reconciled with the medium. (...) The portraits are delivered by brilliant dialogue, all six players in a state of grace. (...) The stage is practicable to the bottom tier, like a bridge, but also concealed by the projection of abstract images and quite gloomy. The lights always evoke a mezzobuio unhealthy as if the sun never shone on these sites corrupt, whose natives do not seem to expect anything. It is not yet at a rally that we witness, Saviano does not want to impose anything, seems to have no other medicine to offer except the hope that more and more people stop believing this sad state of affairs as inevitable. But to feed her and our pessimism adds the consideration that this is not a local crime is picturesque, but the visibility of an occult system that now has branches, at least in Italy, almost everywhere. (Masolino D'Amico - THE PRESS)

were both absent at the first national Gomorrah Monday evening at the Teatro Stabile di Napoli Mercadante: that of the author Roberto Saviano, for security reasons he lived under guard, and that of hope as well as in the book became a bestseller worldwide. Lacked "the Adda passes '' a Nutt" of Edwardian memory, a phrase that indicates the certainty, while waiting, the light that will dissolve in the darkness of night and life. The concluding sentence instead Gomorrah - "Do not give yourself peace!" a very convincing Ivan Castiglione, in the shoes of the same Saviano, launches to the public, but that leaves a sense of inevitability, which brings with it the anguish of a scripted destiny-which is impossible to oppose. (THE FUTURE Valeria Chianese)

In a scenario from province ruined by illegal constructions - scaffolding pipe innocent, sand bags, cans of paint, uneven pillars - unfold the two planes of the scene, a citizen of any open space and a balcony with a screen, almost represent the two levels, the lowest of blind violence and animal, the armed with Kalashnikov fetish for the poor or drug test (left to prove to Visitors, those human maggots will do anything for a dose of kobret, heroin, ecstasy ) and the highest, the unscrupulous manager, graduated from the Bocconi able to bury tons of toxic waste from northern Italy within walking distance of the condominiums iperpopolati, that level business that is not dirty your hands (very well made by the stakeholders, the indispensable man, Giuseppe Miale Mauro), strangling retailers and farmers with rates of wear and manages trafficking, from Campania to China to Russia. (...) Due to the hot material of the novel, the stage version has decided to focus on short flash, a sequence of narrative paintings, conversations inevitably shortened in a continuous series of situations and events, where the same Roberto Saviano (played by Ivan Castiglione) is the more fitting. And in a dramatic final, returning the final words of the speech by Roberto Saviano, explorer of a malevolent universe dangerous, "until the end the night I go on this trip. Do not give yourself peace. " And no one at the end of the show, can get away with a light heart, going out in Piazza Municipio, among the piles of rubbish and the arrogance of petty crime, the busloads of tourists and the monuments filled with history. (IL MANIFESTO Flavio De Luca)

Un'inferno cement pipes and innocent to two floors, a grim crossroads of violence and trafficking, an almost neo-Brechtian theatrical performance with prototypes and shame from the opera and warning in more denunciataria theme of social plague of crime. (The Australian - Rodolfo Giammarco)

A rugged line, "nasty" unable to mediation, which is preferred by director Mario Gelardi. the show back on the lights on the "theater of the word" the "cultural ceremony" that Pasolini himself spoke when he wrote his manifesto in 1968.Di the choice to have the character of the same scene in Roberto Saviano, the figure of Ivan Castiglione, perfect alter ego of the writer, with his brisk walk, light, language direct, clear, saddened and scared, can show us the persistence of insomnia in battle, the loneliness of a heavy who is listening and only after listening to talks and writes. (...) In the show, played with an impressive realism by all the players, the word comes like a punch, a blow cold followed by a sudden heat that makes you sweat. Even in the most dramatic scene is denied catharsis. These guys do not care what tell the intangible allure of money online, the monstrous entrepreneurial force that makes many more deaths than those seen on the streets of Naples (3700 from '79 to present). It happened in the book. Saviano is fascinated by his enemies, does not bring the epic, as it did almost the entire literature of the subject by the Mafia "Godfather" on. If Toto Riina was able to sit in his cell two hours to contemplate the fiction that tells the youth he and Provenzano, on the contrary will ever no racketeer in the theater to see Gomorrah without wanting to breaking things. (Katia Ippaso RELEASE)

The book is now in history, one of those things are able to unhinge the minds and markets, customs officers, conformism. Not everyone is Neapolitan, not everyone knows and live. For them Gomorrah Roberto Saviano has opened the door without hesitation to re-establish a world entirely, giving him international fame and critical survey. For these people, but also for the players on the field, young and old, of a malaise, constantly updated, the writer has agreed to turn Gomorrah in the theater. Saviano's script with Mario Gelardi, chooses some nodes and shocking book exposes them, flashes of memory of witnesses who not only shows their wounds, pain in the face of corruption, cohabitation, the dishonesty, lack of future for new generations, but czech extension of the complaint and the fostering of a Socratic incazzatura. (...) The awfulness of drugs and fraud, money laundering, violence and conspiracies of which "tell" the six actors, all very involved, coming direct boulders whose lethal force is called in two ways, truth and courage. (THE MESSENGER - RITA SALA)

anger and anguish, but also a lot of bitterness, that's how it feels in listening to the fact narrated by Roberto Saviano. And this sense of unease and horror grows when the characters, only the first reading, take shape. It is on the scene "Gomorra" Roberto Saviano e Mario Gelardi, the latter also a director at the Teatro Mercadante di Napoli. The five stories from the novel by the authors are wisely intertwined and their glue, and star of the show, it's Saviano. It is a necessity that drives Robert to investigate the mechanisms of the Camorra, the need arising from a sudden pressure since childhood in a place where knowing how to shoot is the only way to gain respect as a man. (...) It is an obsession: "understanding is the only way you can protect yourself" - said in his touching speech made in 2006 in Casal di Principe, which opens the show, interpreted by an exciting Ivan Castiglione, who gives us the inner life of Robert without falling into trite attempt to imitate him. (...) What is striking about most of these characters is their sense of omnipotence, resulting only from the side of the "strong", those who rule. All staged in a simple, realistic, raw and emotional impact, as well as scenes of Roberto Crea, thanks to the evocative images and music by Ciro Pellegrino spectral Francesco Forni, perfectly complementary to the events, which add great poetry. (Il Brigante - Mariagiovanna Grifi)

Gomorrah in the theater is like a sudden punch, violent, fast, it hurts but that forces you to react. The striking realism of the stories brought to the scene, at the Teatro Mercadante, director Mario Gelardi and written by Roberto Saviano really comes like a punch straight to the stomach, do not you sit still in his chair, arms and legs in constant tension with the 'instinct to stand up and shout "Enough!". It is the story of a city always under construction, but in decline and in which one has the feeling of entering on tiptoe and then be dragged to and fro of the impetuous of stories, from their faces increasingly familiare.E the end you come out with my heart shattered by a thousand feelings, from anger to a world that really there, the tenderness that can cause the death of Kit Kat, a young drug courier who would protect all played by an extraordinary Adriano Pantaleo. (...) To act as the glue between the characters' events is the same Roberto Saviano, the stage in the figure of Ivan Castiglione (pictured above), perfect alter ego of the writer, with his clear and direct way of speaking, but not sorry scared, capable of writing a newspaper article about what his friends in the "System" they tell him, without fear of consequences and strongly believe it did not want to join. That "not worth anything and there you go," Saviano who spoke in his speech to the clan of Casal di Principe Casalesi opens the show: Ivan Castiglione recites in full, with the same emphasis and the same look angry and aware that the writer had that day when he spoke to his land. The prologue, which precedes the stage itself, is one of the highlights of the show in which the director Gelardi shows what was the "case after publishing Gomorrah." (...) Francesco Di Leva, fell perfectly in hand, can interpret Picatchu with staggering realism, was able to anger when kicking a boy suffering from an excessive dose of drugs, to inspire terror when holding the pistol to shoot a shot in the head at Kit Kat, her loyal pusher. Leverage can even be moved, when at last, his weeping commented on the death of Kit Kat worn off stage. (...) In the crime "free-range and popular" Picatchu and Kit Kat is opposed to the business by Mariano (Anthony Ianniello) and Stakeolder (Miale Giuseppe Di Mauro). (...) The final, against the backdrop of the desperate cry for the killing of Picatchu Kit Kat, Robert talks about the funeral of the boy, but even here there is the slightest hint of catharsis in the real demonstration that Saviano has "epicizzato" how to access these characters in "The Godfather" and is not even been romantically fascinated, put it "a mockery" by bringing to light the squalor of that reality. And returning the final words of the speech in Casal di Principe: "I come from a land where children are taught that life and death are the same. But I know that life and death are not the same thing and that until the end of this night will go on this trip. Do not give yourself peace. " (Viola Tizzano - Over News)

There are performances that are needed. To open minds, be a mirror of society, to denounce, to help keep the attention. A theater that face echo the truth, which will give "flesh" to the words. It will not allow the oblivion. Gomorrah show is a must, because everything speaks to us and slamming in his face, belongs to our present and can not, then do not stay on him. A truth that the novel is in the theater its real size, making theatrical form, "cultural rite." (...) But the message arrives, thanks to the great test of interpreters Antonio Ianniello, Francesco Di Leva, Adriano Pantaleo, Giuseppe Miale Mauro, Ernesto Mahieux. And in that final gloss always assigned to the writer "until the end of the night I go on this trip. Do not give yourself peace "there is a thread of hope that through us. (Giuseppe Distefano CITY-LIVE)

This Gomorrah gets inside you, you leave the sign as the thousand bloody footprints and the hundreds of holes kalascnikov the director projects on the scene: There is no cure in every aspect of the show, the musical connotation of "neomelodici" of Naples to the signs of a people in search of certainty as Pulcinella, Maradona, 'A Lady and San Gennaro at the end of Appian the show. And a glimmer of hope even in the final message of Robert: Life and Death is not - the same thing, but give yourself peace. (Barrel-Antonio Ardito)

photos by Marco Ghidelli