Originally published for StageDoor. Click here to view the original article. Three years after the final curtain fell on its first Toronto run, & Julietreturns to the city in a markedly different configuration. When the musical premiered here in 2022, it served as a pre-Broadway trial and its North American
Italian
Originally published for Stratagemmi. Click here for the original article. Camicia sbottonata, canotta bianca, pantaloni di velluto, collanina d’oro. L’ingresso in scena di Crazy Bosnian Guy – unico personaggio dello spettacolo A volo d’angelo, scritto e diretto da Federica Cottini– attiva fin da subito un immaginario vivido, quasi
Fringe
Originally published for Stratagemmi. Link to the original link. Una loop station, una bottiglia di alcol, un palcoscenico disseminato di fogli accartocciati. Basta un colpo d’occhio per intuire la componente dissacrante e spiazzante di UMANƏ, spettacolo firmato da Camilla Violante Scheller, in arte Navëe, in scena al Cascinet all’
Originally published in Italian for Stratagemmi magazine. Link to the original article Writing a debut work is no small feat. For many emerging artists, the easiest path is the autobiographical one: starting from the self to explore the cracks of a generation, an era, a shared identity. Stupido Unicorno, the
Originally written in Italian for Fermata Spettacolo online magazine. Link to the original article England, 1960s. A restorer named Tom Keating produces countless paintings in the style of the great masters, but hides within each what he calls “time bombs”: small clues that will one day reveal them as fakes.
Originally written in Italian for Stratagemmi. Link to the original article In mapping the contours of this fifth edition of FringeMi, a recurring thread emerges across the festival’s official programme: the artist staging themselves. Most of the works use the first person, bringing the performer’s biographical identity onto