Otello

Shows

It happens with great authors, perhaps especially with Shakespeare: their texts, their stories, their characters are, literally, immortal. They continue to speak to us, to amaze us, to enchant us; sometimes they even help us understand who we are, what is happening to us now.
And when you encounter one of these perfect stories you generally fall in love with it, and above all you realize that it would make no sense to try to invent another one to say the same things, but that it is legitimate, perhaps even necessary, to continue telling that one. Precisely that one.
This is what happened to Gabriele Vacis and me, and not just once.
This is what thrilled us to the point of thinking of bringing our Othello back on stage after 24 years, preserving the narrative substance intact (Shakespeare) but intervening and modifying those parts in which current events, or rather contemporaneity, they required an update. Those parts in which the Bard himself enjoyed inserting allusions and quotes that were incomprehensible to us (who could be that "Mr. Angel" who even influences the Doge?), but which were certainly very clear for the spectators of the time, and probably very funny .
If we then add a dazzling plot, the summary of which might seem like a current news story (a highly qualified foreign worker, a mixed marriage, a petty and very clever manipulation, a malicious and unscrupulous use of language, a femicide with subsequent suicide of the guilty), then we realize how much we need to continue telling and listening to this story.
Precisely this one.

Lella Costa