“The Pitchfork Disney” by Philip Ridley

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Great performance for Elena Vannoni, who presented at Teatro Elicantropo in Naples “L’incubo Disney”, a play freely adapted from “The Pitchfork Disney” by Philip Ridley.

Teatro Elicantropo confirms a very interesting calendar for this theatre season. Director Elena Vannoni – also thanks to the excellent performances of the cast – managed to wonderfully express the power of the script, putting on stage the fear that paralizes a man against reality and pushes him to isolate and elude the world.

«The only thing that surprises me – a character says – is the ease with which one stops living, not in the sense of dying, but rather letting yourself go to apathy, to a non-life without projects, without expectations». This is the basic theme of “L’incubo Disney”, a story of two “decrepit children”, two 28-year old siblings, Haley (Elisabetta Pastore) and Presley Stray (Andrea Peghinelli), who regress to an infantile stage because of their parents death. They stop growing up and take refuge to a personal universe of memories, tales and dreams, where they find a reasonable reassurance against the evils of the world. Their certainties, however, will be completely upset by two ambiguous characters, Cosmo Disney (Francesco Mastrorilli) and Pitchfork Cavalier (Simone Di Pascasio), a mixture of seductive adulation and brutality, who will force them to reckon with reality. The encounter – or rather the clash – between those two worlds cannot be more violent and emotionally tragic. The whole play is based on the contrast between two parts: internal world and external one, attraction and repulsion, dream and reality. This duality rpoduces a double narration where long, powerful and emotional monologues alternate with absessive and repetitive dialogues between the characters. Nonetheless the narration itself remains on a dreamy level, perfectly underlined by an effective light design. In this interesting work, Elena Vannoni shows us on one hand mankind’s frailty, represented by Haley and Presley who act like frightened children, dominated by a desparate need of tenderness yet attracted by the external world, peeped through the window; on the other hand Pitch and Cosmo who represent the reality, with its brutality, violence, but also with its seductive twinkling that fools and betrays for its own interest.


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