DRACULA THEATRE review for Daniel Jordan

DRACULA THEATRE review for Daniel Jordan
A Dracula that still do not know, no movie theater, but Bram Stoker to Hamilton Deane and John Balderton. A text staged in 1897. It was soon destined to the archive, commonly called trash! Maybe that's why the director Antonello Panero is three years that continues to suggest, again on the feast of Halloween, as it happens always at Herald Theatre in Turin, where an opportunity for the public, that affection comes disguised. He, always looking for new ideas, change the script often turning to give new emotions, unlike those shows that hold the box office for years. Thealtro with the theater company, the claims, are only in office that everything is done for the best, and doing so with the conviction of the form. This Dracula, cut and a lot of details see the actors as they really are, without tricks or special effects, are vivid images that the viewer sees only the glow of lights, making the image of the actor starring in a light / dark significant impact, without setting sparse sets but essential to make visible to the user the representative image of the scene. The lights, worthily placed by Peter Striano, make it even more influence on public transport in the dimension that the drama wants to be. The music suited to the states, selected and refined by Roberto Cortese, leave no space, accentuating and involving the audience. The interpreters of this beautiful are in order of appearance: a good Massimo Chionetti; Giorgio Perona, Marco Armellino, with excellent performance in the part of Renfield, Enrico Cravero: Patrizia Schneeberger, Manuel Somma; a good Lusy, played by Veronica Scilla; the curator of that, the Dracula par excellence, Antonello Panero which has re-written in "his imaginary" text more urban and theatrically acceptable, without having to have a nurse in the room ready to give salts in which case someone would faint.

Turin (Italy), November 1, 2011