Ideals and dreams are food for the spirit, but when the former collapse and the latter vanish we realise they were “only dreams”, and that, no matter how hard we may wish for them to come true, they never will; we realise that they were “only ideals”, even though they had influenced all our life up to that moment.
Our certainties start wavering, causing us to fall into a state of discouragement and depression. So what do we do? Accept the new situation or react and become what we would never have wanted to become?
Cynical, self-seeking, social-climbers, selfish and …
God knows what else? Vincenzo Salemme, a brilliant Neapolitan artist, possibly a bit unappreciated in the North, but certainly an “idol” for young people and not so young people in the South, conveys to his audience this very message, by writing (or rather re-writing off) a play he had previously staged in 1990, whose title was “The Funny Case of Felice C.” and which is now performed with the title “Cose da pazzi!” [This is sheer madness!] But who is mad? Are we by any chance referring to all the dreamers and idealists? Well, in that case, three cheers for the mad!!!
Vincenzo Salemme states that his purpose in writing is “to overcome his personal unease and anxiety”, possibly to ward off sadness and gloom through irony; but whatever his purpose, well worth his inspiration!!! In 1990 he established a theatrical company of his own (after various and successful experiences he had had with Eduardo De Filippo first and with his son Luca later), in which he is the actor-manager and which immediately met with great success. Since then, he has staged 20 plays, all written and directed by him.
The plot of this last comedy is a simple one: an ordinary family receives for eight months an anonymous packet containing 50,000 Euro, 400.000 Euro altogether: an amount that would turn anybody’s head. What should they do with all that money?
Spend it or send it back for fear that it may come from some illicit trade and that sooner or later someone may come and claim it back? This part is followed by a number of situations which, thanks to the artists’ talent, their gestures and (why not?) their genuine Neapolitan style, prove really hilarious and high-spirited.
At last, a humour that is not coarse or obvious, but real, or rather genuine.
Words and jokes flow like a swollen river, and the healthy laughter coming from the audience acts as a sounding board.
Occasionally, the actors themselves are unable to keep a straight face and visibly laugh up their sleeve for the words they have just said or maybe just extemporised, involving the audience. Salemme’s plays live on extemporisation and Salemme himself is a constantly developing writer, who, as a good chef, adjusts his creations to reach a balance in “flavours”. In other words, a comedy that is “full of flavour”, which is really worthwhile “tasting”. Translated by interpres sas