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Edinburgh Fringe First Award 2012 for Writing Excellence
The Stage Award 2012 for Acting Excellence to Silvia Gallerano
Arches Brick Award 2012 for Emerging Art
Total Theatre Award 2012 for Innovation (Nomination)
Premio della Critica 2012 Miglior Spettacolo
Jury Award Giovani Realtà del Teatro 2010
Audience Award Giovani Realtà del Teatro 2010
Dodicidonne ATCL Lazio Award 2010 to Silvia Gallerano
Edinburgh Fringe Sell-out Show 2012, 2013, 2022
Reumert Award 2015 for Best Actress to Danica Curcic
Prêmio Aplauso Brasil 2018 (Nomination) to Christianne Tricerri
Norwegian Hedda Award 2019 for Best Actress to Helga Guren
Best New Play for a non-Danish Writer 2019 Copenhagen Culture (Nomination)
***
‘Una obra sublime tan brutal.’
El País (Spain)
‘Extraordinary, uncompromising and entirely unforgettable. Rich, absorbing worlds that suck you in and shake you up, leaving you disorientated, disturbed and exhilarated’
★★★★ The Times (UK)
‘Um ato de revolta e libertade. Na sua ira discursiva, com verdades e delírio, o que surge é o ser humano entrevisto e retratado na alta literatura’
Estadão (Brazil)
‘Extraordinary, terrifying and hard to taste, hard to ignore. A piece so literally and metaphorically naked, raw and angry that you leave the theatre feeling as if you’ve had all your skin scraped off’
★★★★ The Guardian (UK)
‘Gallerano’s visceral performance will stay with you for years’
★★★★★ The Stage (UK)
‘Think Beckett on steroids. A furious stream-of-consciousness.’
The Georgia Straight (Canada)
‘Devastating stream of consciousness. One of the most wonderfully full–on performance ever seen’
★★★★ The Scotsman (UK)
‘È come entrare in un circo. La belva pronta, sul trampolo. Guarda, annuisce, ruggisce. Di fronte a lei, senza alcun riparo, tutti i domatori. La Merda, di Cristian Ceresoli, fra le decine e decine di premi, vinti in tutto il mondo, non è uno spettacolo. È un’esperienza. Assoluta. Quindici minuti di applausi finali. Imperdibile.’
La Repubblica (Italy)
‘Estamos falando da verdadeira revolução pretendida pelo cineasta Píer Paolo Pasolini’
★★★★ Folha de São Paulo (Brazil)
‘It is anti fascist as well as anti abuse; against people who play for power over others. Parts of this show are so politically incorrect that they come at you from unexpected angles. Certainly the whole piece is pushing boundaries of theatre in new ways.’
The Advertiser (Australia)
‘How a culture of celebrity feeds a returning tide of European neo-Nazism’
ABC (Australia)
‘Teater, der virkelig vil os noget’
★★★★★ Politiken (Denmark)
‘Brash, brutal, beastly, yet beautiful. Raw, touching, intelligent and mesmerising. Unforgettable.’
★★★★ The List (UK)
Utterly compelling verbal symphony. Somewhat perversely, the compelling honesty
of what follows is simply irresistible’
★★★★ The Herald (UK)
‘Il monologo rivoluzionario.’
Il Sole 24 Ore (Italy)
‘Una voce s’è desta. Un grido di dolore. Uno stimolo a liberare il nostro paese.’
L’Unità (Italy)
‘This is skin in the tradition of Artaud and it is powerful, political & poetic.’
★★★★★ Examiner (USA)
‘A manifest of anger and tenderness, a stand-up tragedija’
Ore (Lithuania)
‘Pragtfuld Silvia Gallerano sig i det mest forbløffende monolog-manuskript siden.’
★★★★★ GregersDH (Denmark)
***
‘Desperate and chilling, a fierce commentary on a society spinning helplessly towards barbarism; it blazes with the kind of poetic and theatrical energy that leaves audiences not depressed, but exhilarated and empowered.’
★★★★ The Scotsman (UK)
‘A play that surprises like surrealism and sounds like a symphony,
angry, passionate and compelling.’
Total Theatre (UK)
’An incredibly acted, grotesquely comedic and brutal journey
through a fascist, totalitarian landscape.’
★★★★ The Wee Review (UK)
‘A larger than life performance’
The Independent (UK)
Seductive & innocent.
★★★★★ Gregers (Denmark)
Violent and scary.
★★★★★ Ungt Teaterblod (Denmark)
Inevitable.
★★★★ Sceneblog (Denmark)
Strong and rhythmic.
★★★★ Kulturtid (Denmark)
ITALIAN BOOKING
Paola Farinetti
Phone +39 0173 366549
send an email
INTERNATIONAL BOOKING
Richard Jordan Productions Ltd
Phone +44 (0) 207 243 9001
send an email
DIRECTED BY SIMON BOBERG
SOUNDTRACKS BY STEFANO PIRO, ‘CARACAL’ A SONG BY DJ BLUE CAT
TECHNICIAN GIORGIO GAGLIANO
PRODUZIONI FUORIVIA (ITALY), FRIDA KAHLO PRODUCTIONS (ITALY) AND RICHARD JORDAN PRODUCTIONS (UK)
WITH TEATRO METASTASIO (ITALY) AND TEATER GROB (DENMARK) IN ASSOCIATION WITH PLEASANCE (UK) AND DEVELOPED WITH JERSEY ARTS CENTRE (UK), WITH THE SUPPORT OF SPIN TIME LABS (ITALY)
We got to dance.
We got to dance.
Every morning.
And every night.
We got to smile.
Who doesn’t smile, is punished.
Who protest, is punished.
And every day.
Goes by the same.
[Happy Hour, Chapter 15]
Kerfuffle is a boy, a champion of the world. While Ado, his sister, is agirl.Mum and Dad are happy. That’s because it iscompulsory.
Winner of six major awards (with the Edinburgh Fringe First) and having thrilled audiences around the world with La Merda (from Europe to Brazil, from Australia to North America) still touring and selling out since 2012, Cristian Ceresoli presents his new writing, rock and lysergic, titled Happy Hour. Being composed since 2007, as if it was the second fragment of the same landscape, as if these two works (La Merda&Happy Hour) were enlightening two details of the same painting.
Here the writer discovers a new world –at the present– where a brand new and highly effective form of a cheerful totalitarianism is coming by. Acitywith hilarious mass deportations and funny exterminations,where the most colourful of fascisms states. Silvia Gallerano, acclaimed performer of La Merda, embodies little Ado, a girl hungry for love, while Stefano Cenci, unique and powerful performer, is her brother Kerfuffle, directed by Simon Boberg, Danish director of international fame – along with Soundtracks of Stefano Piro based on the music of Caracal, a song by dj Blue Cat.
A “trendy” poem at the overwhelming rhythm of a never-ending “happy hour”, in a deliriously renewal of the language, crossed by humanities who enjoy life, dress in a leopard-style code and is ready to anything to defend its enthusiasm.
As well as La Merda has broken the boundaries of theatre, literature and art in new ways, beyond the genres (poetry, rock, sophisticated and welcomed by sold-outs everywhere), Happy Hour tries to manifest itself with its own originality. A literary score for two voices/bodies. Acting beyond limits. Live performing art.Vision. Glamour. A very modern tragedy where you die laughing, as slaughtering beasts.
Dobbiamo ballare.
Dobbiamo ballare.
Tutte le mattine.
E tutte le sere.
E dobbiamo sorridere.
Chi non sorride vien punito.
Chi protesta pure.
E ogni giorno passa uguale.
[Happy Hour, Capitolo 15]
Kerfuffle è un bambino, è un campione del mondo. Invece Ado è la sua sorellina, è una femmina. Mamma e papà sono felici, anche perché è obbligatorio.
Dopo aver vinto numerosi premi, tra cui l’oscar del teatro europeo al Fringe Festival di Edimburgo, e registrato un grande successo di pubblico e critica in tutto il mondo con La Merda (dall’Europa al Brasile, dall’Australia al Nord America) tuttora in tour a sei anni di distanza dal suo debutto, Cristian Ceresoli presenta una sua nuova scrittura, lisergica e rock, intitolata Happy Hour. Composta a partire dal 2007, come fosse il secondo frammento di uno stesso paesaggio, come se queste due opere illuminassero parti dello stesso dipinto.
Qui lo scrittore scopre un nuovo mondo, al presente, dove si afferma (e vince) un’efficacissima forma di allegro totalitarismo. Qui Silvia Gallerano, già osannata interprete de La Merda, incarna la piccolaAdo,una ragazzina affamata d’amore, mentre Stefano Cenci, interprete unico e potente, è suo fratelloKerfuffle.La regia è affidata alla sensibilità di Simon Boberg, regista danese di fama internazionale,già direttore della produzione teatrale e televisiva di Lort (La Merda) in Danimarca.
Una partitura (o città) in cui avvengono divertentissime deportazioni di massa, in cui si afferma il più colorato dei fascismi. Un poema di tendenza al travolgente ritmo di un happy hour ininterrotto e quotidiano, in un delirante rinnovamento della lingua, attraversato da un’umanità che gode della vita, veste ghepardato e è disposta a tutto per difendere il proprio entusiasmo.
ComeLa Merda ha rotto gli schemi aldilà dei generi(opera di poesia, rock, sofisticata e immediata a un tempo, letteratura, teatro o performance,accolta da luoghi e spazidiversi, grandi città e provincee tutto esauritoda anni) allo stesso modo Happy Hourtentadi manifestarsi con una sua originalità. Partitura letterariaper due corpi. Prova d’attore oltre i limiti. Opera d’artedal vivo. Visione. Glamour. Una tragedia moltomoderna in cui ridere fino ad ammazzarsi epiangere,come bestie da macello.
La canzone Caracalche si intarsia all’esecuzione della partitura è della dj islandese Blue Cat
Ph: Marco Pavanelli
ARTICLES
