The Sardinian tour of the comedy “Benvenuti a Casa Morandi” ended yesterday evening at the Akinu Congia Municipal Theatre in Sanluri. The comedy was produced by Marioletta Bideri for Bis Tremila and distributed by Diego Ruiz for MenteComica, and was performed as part of the Cedac Great Prose Season, chaired by Antonio Cabiddu and directed by Valeria Ciabattoni.

A show that won over audiences with a balanced mix of irony, nostalgia, and autobiographical narrative, bringing to the stage an intimate yet universal family portrait.

The protagonists of the evening were Marco and Marianna Morandi , children of the famous singer Gianni Morandi , still a protagonist of the Italian music scene, and of the actress Laura Efrikian , today an appreciated writer and much followed by her readers, who, together with the actor and performer Marcello Sindici, gave life to a brilliant comedy directed by Pino Quartullo.

The text, written by Morandi himself with Quartullo and Elisabetta Tulli, recounts with lightheartedness and sincerity the growth of two children of artists, amidst childhood memories, film sets, and songs that have marked an era.

The plot begins with a move: among boxes, old toys, and forgotten objects, a past filled with limelight and family moments resurfaces, with the loving figure of the nanny Marta acting as an emotional thread and who, from the afterlife, guides the two brothers to find the best inspiration to build a project together.

In this space suspended between memory and the present, the protagonists retrace funny and melancholic episodes of their lives , intertwining personal stories with a broader reflection on affections and identity.

On the stage, the show stands out for its agile pace and a confidential tone that immediately draws the actors closer to the audience. The parents' phone calls, the lively dialogues between the siblings, and the arrival of a pushy mover, increasingly infatuated with the beautiful and sweet Marianna, create comical situations that lighten the more intimate moments of the story. The result is a comedy that balances laughter and tenderness without ever slipping into rhetoric.

The quality of the protagonists' performances and their immediate empathy with the audience—and the references to a girl from Serramanna, Marco's ex-girlfriend, and to local foods particularly cement the connection with the audience—give rhythm and soul to an already intimate and introspective show.

Marco and Marianna Morandi demonstrate remarkable stage presence: their acting is natural, measured, and authentic, alternating moments of brilliant comedy with more dreamy and nostalgic passages. The dialogue on stage appears spontaneous and complicit , supported by a clear understanding that restores credibility and warmth to the family dimension portrayed on stage.

Marcello Sindici 's performance was also particularly successful. With his physical energy and the theatrical flair that comes from his past as a skilled dancer, he becomes an added value in the second half of the show. His character, the intrusive yet ironic and thoughtful mover, bursts into the story with precise comic timing and a lively stage presence , capable of captivating the audience's attention and creating constant moments of lightheartedness.

The ballet, set to the music of Raffaella Carrà, with a light-hearted, cheerful, and flexible choreography designed by Sindici and masterfully performed alongside an elegant Marianna Morandi, almost becomes an ideal meme to sum up the comic power of the highly successful staging.

Quartullo's direction accompanies the story with balance , leaving room for the actors and the powerful dialogue. The show's original music, composed by Marco Morandi himself, is very well-focused, and he also provides some wonderful cameos with his crystalline, nuanced voice. Mauro Paradiso also creates truly superb sets, with lighting design by Luigi Cervelli and sound design by Dario Savoia, all of whom are amply and deservedly thanked at the end by the two brothers in the same theater.

The Sanlureno theater audience responded enthusiastically, attentively following the succession of memories and jokes and rewarding the cast with prolonged applause at the end. The evening thus concluded in style the show's mini island tour, which had previously visited theaters in Macomer, Oristano, and Meana Sarda.

"Welcome to Casa Morandi" thus confirms its ability to resonate with generations : behind the story of a famous family emerges a simple and authentic tale of memory, roots, and the value of affection. A light-hearted yet sincere play, it leaves the audience with a smile and a touch of sweet nostalgia.

LP

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