by Riccardo Barone
Life’s cycle. But the memory remains. Or it could remain, maybe hidden between a daily ink-check of our favorite pen and a weekly visit of our first daughter. No, hang on, our second daughter. But did she really come?
In the scene every object establishes a strong bond with the past becoming a return ticket to the past, sweet flashbacks drenched in melancholic jungian dialogues between an early widower and his daughter.
Nevertheless time goes fast, and the little plant is becoming an adult tree whilst the adult tree is slowly loosing its branches. And we know it; when a coat of hoar starts to cover our fur, every little complaint becomes a huge demand. Old age is merciless: there is no room for sugarcoated words, just truth, flowing emotions, a pinch of cynicism and an ocean of tenderness.
The show opens a crack in the walls of a common man suffering from dementia; we put our eye in it and we may think how dramatic life could become due to a drastic change of circumstances, such as moving into a new and “safer place”.
The train represents a Pirandellian element of the story, where this time Mattia Pascal will jump on it against his will, pushed by the inexhaustible aging process.
The duo Tim Marriott and Stefanie Rossi sparks again, this time with a comedy, after the unforgettable dramatic last year Fringe show Mengele, showing perfect versatility and polyhedrical mastery of the scene.
Kryztoff rating: 5k
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