Theater: Maria Grazia Cucinotta in Sardinia with Pino Quartullo
David Tristram's "The Ghost Wife" is on tour through Sunday, with stops in Carbonia, San Gavino, Oristano, and Lanusei.(Photo by Gianmarco Chieregato)
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Two major stars of Italian theater and cinema are arriving for an intense Sardinian tour: Maria Grazia Cucinotta, making her debut on the island's stages as an actress, following her success with Massimo Troisi in the 1994 masterpiece "Il Postino," and Pino Quartullo, one of the masters of the stage and already appreciated in Sardinia in other highly successful productions.
They can be applauded this evening, Thursday 19 February, at 8.30 pm at the Teatro Centrale in Carbonia, the following day at 9 pm at the Teatro Comunale in San Gavino Monreale, and again on Saturday 21 February at 8.30 pm at the “Antonio Garau” Theatre in Oristano and Sunday 22 February at 9 pm at the “Tonio Dei” Theatre in Lanusei as part of the Great Prose Season organised by CeDAC / Multidisciplinary Circuit of Live Performance chaired by Antonio Cabiddu and directed by Valeria Ciabattoni.
Both award-winning and beloved by audiences, they will be performing in David Tristram's "The Ghost Wife," a brilliant dark comedy that reflects on the complicated interplay of passions, sharing the stage with Giorgio Verduci, Giorgio Centamore, Roberta Petrozzi and the participation of Alessandra Faiella.
The play, with sets by Lucio Diana, costumes by Laura Liguori, lighting design by Andrea Lisco, and music by Diego Maggi, is a co-production between CMC/Nidodiragno and RARA, and directed by Marco Rampoldi. An investigation into a crime highlights love and betrayal, envy and resentment, in an intertwining of art and life.
A famous actress, who died prematurely (apparently) by suicide, returns as a ghost to take revenge on those who poisoned her in this hilarious work by the British author.
A suspenseful plot for an ideal behind-the-scenes journey, a crackling comedy set in the world of show business and full of references to classics of theatrical history, such as William Shakespeare's "Hamlet," from the appearance of the old king's ghost, who reveals the truth about his murder to his son, to the ruse used by the Prince of Denmark to test his usurping uncle, but also to "Blithe Spirit," Noël Coward's successful play, which also served as a film version, in addition to Edward Hall's 2020 remake.
A refined metatheatrical mechanism, reminiscent of Luigi Pirandello's plays, amidst atmospheres fit for an Agatha Christie novel, allows us to explore the contradictions of the mind and heart: in "The Ghost Wife," the characters lay themselves bare, momentarily abandoning the masks that conceal thoughts and feelings, unspeakable desires, hatred and rivalry, in a merciless game of truth.
LP