What day is it? Catching up on Napoli Millionari, but I’m not sure if it’s worth the effort. This old (19450?) play by Eduardo De Filippo (1900-1984) . His play (a new translation by Canadian playwright, John Murrell), without a clear protagonist, set in a forgotten (Act I, 1942; Act II & III, post-war) Italy, with far too many bodies on stage, without a clear story-line but with an unwieldy second act, would not survive a workshop these days. I’d begin by collapsing the second and third acts into one and clarifying the narrative line to two or three salient points, and cutting the number of people coming and going so that the audience can keep track of them. Ah, well, I’m not a play doctor.
I guess Tom McCamus, playing Gennaro, is the protagonist, but that isn’t clear until about two-thirds of the way into the play. He has a good voice, suited to Canadian vernacular speech patterns. He never makes me believe for a moment that he is an Italian husband and father with principles, not easily defined or recognized by the amoral people around him, not above a little dishonest chicanery himself. (He plays dead to avoid paying off a debt.)
There are some nice set pieces, quite entertaining, and the moral lesson of the story is clearly shown. But…
I didn’t enjoy it. You might. Speaking of which, why, why, WHY do people keep getting up and giving standing ovations to a performance or a performer who does not deserve it? Do they think it’s required of them? Theatre etiquette? It’s not polite to block the view of other patrons so that they are forced to stand, against their will, in order to see the cast.
See, I’ not a critic, just a petulant, spoiled theatre-goer. Leave it at that.
Oh, I forgot to say that the play was directed by Antoni Cimolino, who selected it for the season.. I guess every artistic director is permitted a certain amount of self-indulgence.