La Grande Magia - Natalino Balasso, Michele di Mauro

Calogero Di Spelta, a betrayed husband, with his obsession for control and his inability to love and trust, becomes a mirror of the challenges and difficulties of contemporary men in the context of relationships.

The result is a man with a constant need to cling to solid certainties, at the cost of symbolically enclosing them in a box: the safe place. On the other hand, Otto Marvuglia, a magician and manipulator, with ever-changing and interchangeable faces that alter the context and perception of reality. Characters are lost, viewers are lost, men and women of today are lost, lost in relationships, lost in the continuous merging of truth and falsehood. What is true? What is false?

The Great Magic is a complex text, with the breadth and vision of grand theater while offering dark nuances of our humanity at the same time, psychological traits even expanded in our contemporary society or at least of which we are more aware, compared to 1948, when it was first performed, eliciting controversial and mostly negative reactions, as the text was not understood and appreciated.

As we know, for Eduardo, that was a profound disappointment; he was accused of imitating Pirandello or, more simply, faced the resistance that a great artist always encounters when exploring new horizons. The fact that Eduardo himself experienced the bitterness of public misunderstanding reveals how this text is imbued with depth and potential to narrate our emotions, uncertainties, and current obsessions. This dark, at times dramatic, and ambiguous comedy, not confined to the discourse on family, devoid of rhetoric, suspended between reality and fiction, faith and disillusionment, theater and life, truth and falsehood.Gabriele Russo
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