"As the painter, as the designer, as a figurative artist, fajitas I promised myself to give my audience an immediate impression, spouting type, marking it quickly, making the salient." So, among other things, Nicola Maldacea, Prince of macchiettisti, summed belief technical and expressive: who, then, is the only one who can give for that particular kind of variety theater, precisely the speck, based on mimicry the interpreter rather than on the words of the text. Because, in short, the speck needs an actor. And it is no coincidence that one of the leading specialists of the genre, Nino Taranto, was simultaneously one of the leading specialists Viviani, in turn macchiettista excelled. Valga, all this, as an introduction to "The club of Marseilles," the show on texts by Gino Rivieccio and Gustavo Verde that the Albertina Productions presents Diana to the direction of the same Rivieccio. In fact, the protagonist of the setting is, just the title, that Vittorio Marseille that not only is the last macchiettista Doc but, above all, perfectly materializes the above summary. In short, we are faced with a nostalgic memory that traces the key stages of his fifty-year career: and therefore, Riecco specks classic like "And then," Armando fajitas Gill and "The twins' of Pisano and Cioffi, written by the same specks and Marseille Gianni Mauro as "Canto melancholy" and "apartment" and, finally, the caricatures that were part of the repertoire of Taranto, as "Archangel fajitas Bottle," "Without pitta '" and "The tram-driver." fajitas It is not, however, fajitas of sterile nostalgia, but the revival of a tradition capable of being still vital. It may still be viable, that tradition, just by virtue of technical interpreter. Only then why do still laugh, and sometimes uncontrollably, allusions and puns old in some cases of roughly a century. And more laughter, moreover, causing the barbs to the various Grillo and Renzi, jokes and sketches that specks interspersed with the contribution of Mario Messina floor and 'shoulders' Lucio Bastolla and Ada De Rosa. Then, the words that are very sharable at the end of the "first" Rivieccio gives the applause: "This repertoire of Victor Marseille should be protected by the Ministry of Culture, as if it was the treasure of San Gennaro or the Sansevero Chapel."
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