Everything starts in the music on an air of rock’n’roll. A good part of the audience, invited on stage, hopping to the rhythm of the guitars. Nobody asked us to “turn off mobile phones”. There is not even a “beginning”, it is said. A circle is formed: a very young girl dancing with a blond. And all of a sudden the lights go out. The spectators were driven away and the flashlights of the matons are busy. Someone escaped by the roofs. This is Roberto Zucco, the beautiful dancer blond, who has just killed his father.

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“beyond The walls, there are other walls, there’s always prison. It is necessary to escape by the roofs, towards the sun. We will never put a wall between the sun and the earth.”

Koltès ‘

Zucco seduces and destroys everything in its path. Collective 13

The staging of the young Pink Christmas, just 21 years old, requires a brute-force. An ancient power. The location – the room of stone of the Theatre of the Sword of wood, its bare walls, its extense – drop the actors in the middle of a Greek tragedy. It was the home of Bernard-Marie Koltès who, already reached by aids, fascinates in the final months of his life to a serial killer Italian named Succo which he sees the opinions of research in the metro.

” READ ALSO – Succo to Zucco, the route of a maniac

Without too much worrying about the boundaries of the stage, this monster with the angel face walks around seducing and destroying everything in its path, spectators, and the secondary characters, under the light bifrontale flashlights. It is terrible that Roberto Zucco, ambiguous and tortured, in his quest impossible to death and light, in tenderness unspeakable that it arouses, wonderfully interpreted by Axel Granberger, whose beauty reminds of the no less terrible “Angel of death” in argentina, Robledo Puch.

Despite a few infidelities to Koltès (the piece lasts 1 hour and 20 minutes), everything is well proportioned, with bold, and about. Pink Christmas does not abuse its musicians, however excellent, and knows how well disappear before the sun of his “hero”. As Diogenes it will end up in a cage, in figure of christ, paradoxically, liberated, in a final table that shows all the care in the mannerist made to the text, freely adapted. Talent to follow.

● “Roberto Zucco”, the Theater of the wooden Sword, 4 road of the Field of Manoeuvre (Xii). Friday and Saturday at 20: 30, Saturday and Sunday at 16h. 1 hour and 20 minutes.

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