More than often theatre becomes the mouthpiece of our times’ unease and uses its own peculiar language to denoun- ce facts and realities for all the world to see and, right becuase of that, often overlooked. The union between script and performance enriches itself of a particular energy and impact, here at Teatro dell’Orologio, where the seats are arranged to surround the imaginary banquet and the audience is welcome by waiters and cooks with a menu where the order of the courses presents the structure of the play. What appeared as an interesting visual show, all of a sudden becomes a performance of strong words and images and the restaurateurs change into deforming mirrors of other realities and worlds. Every course of the imaginary meal opens the doors to a new different story: from the “star soup” prepared in a country dominated by the war where every drop of water is paid with life; to a “hog roast” that reports a cuel game in a generic restaurant of the American provinces between people who don’t have any more sign of their humanity. The narrated stories, the resonant game of the expression between the actors, the white costumes that get dirty with sauce, blood and tears, an abandoned fridge… everything contributes to the power of a story where any public expression by women is prohibited, even if it is just having an icecream with friends. The six actors appear and disappear under the tables, in an endless coreography, putting themselves to use in a brave and troublesome script.
You exit the theatre with impression of a performance that touches a parallel dimension of a well narrated sci-fi story. However, a simple, white envelope, received at the end of the play, brings us back to inquestionable facts: blank on white, the words of an Afghan woman, Malalai Joya, remind us that what we saw and heard in theatre show – the loss of freedom, respect and life – are everyday concrete realities. And ignored.