One of the masterpieces of cinema is staged at the Teatro Manzoni in Milan which saw the Lemmon-Curtis-Monroe trio among its protagonists
“This show is neither an imitation nor a replica, also because it would be impossible to copy both Billy Wilder, one of the greatest geniuses of world cinema, and the three iconic performers.
However, I am lucky enough to have an exceptional cast: Giulio Corso and Gianluca Ferrato, with whom I have already worked and who will try their hand at the roles of Tony Curtis and Jack Lemmon respectively, and Euridice Axel who surprised me right from the start by declaring that she did not want to “do” Zucchero, but that she wanted to be Marilyn.”
So Geppy Gleijeses, last favorite student of Eduardo De Filippo, tells his version of “Some Like It Hot”, based on the adaptation by Mario Moretti, on stage at the Teatro Manzoni in Milan from 17 to 29 March.
An Euridice Axel ready to play one of her idols, without the presumption of really being Marilyn, but with the conviction that the only, or at least the best direction to take, was to continue to love her, bringing her ever closer to herself.
After all, “Sugar” is a character that was tailor-made for Marilyn: her naivety, her candor in believing in love, always stumbling into the same mistakes. Modernizing it would have meant distorting it, making it distant from that sincere dreamer, Ukulele player who was able to enchant entire generations.
On stage, the complicity between “Dafne” (Gianluca Ferrato) and “Josephine” (Giulio Corso) also works very well.
With them, a large group of character actors, because Geppy Gleijeses’ theater is a theater made with an abundance of scenes, with beautiful costumes and above all with an important number of actors, where people can mentally enter into a context
A director who directed his actors by first making them have fun, to enjoy one of the cornerstones of theatre: disguise, allowing them to be free and without rigidity.
“We took the comedy of comedies, the characters of the characters, but tried to forget the enormous caliber of the original protagonists in order to interpret them without fear of comparison – explains Giulio Corso – trusting that what we were creating was something new, so as not to offer the public a simple copy. A fairy tale told our way.
We have the hard task and the public has the arduous sentence.”
