Il Cavalieri becomes a Prima Donna in this original musical having its world premiere at the Southwark Playhouse’s newly opened venue. Guillermo Nazara gives us his thoughts on the show upon his attendance to the opening night, to share all the details about a man so over-the-top even the Romans would ban.
I’d be surprisingly good for you… She was incredibly right when she said it – even if it was through her fictional self; and not speaking to her husband-to-be, but about herself. And so was he. The similarities between Silvio Berlusconi and Eva Peron are probably bigger than what people may consider at first thought. Both coming from humbler pasts not on the same degree, though) it was their honed gift for manipulation that made them succeed in the only art they were talented at: the one of the possible, aka politics.
It comes as no shock that, after so much soap-operatic (or even Mexican telenovelesque) drama in real life, theatre creatives have been enticed to bring to the stage the story of a man that escaped the grips of justice through his own. And neither does the fact that the influences from Tim Rice and Andrew Lloyd Webber’s sung-thru masterpiece have nurtured the inception, development and final result of what’s become Berlusconi – A New Musical.
Written by composers and librettists Ricky Simonds and Simon Vaughan, the show commences during the former president’s prior moments to attend the trial that will prosecute him for years of excess and abuse towards everyone around him. In a last attempt to seek redemption (surely from himself, after all, his delusions may have made him think of him as a god), he invites the audience to walk down the path that led him from rags to riches (sort to speak) and the ultimate top that would also turn into his imminent abyss.
Bearing resemblance with his 70s predecessor as for both its narrative and framing structure, Rice and Webber’s writing techniques have obviously been the inspiration for a score that, despite its proximity with the British composer’s style, does not sound derivative neither melodically or harmonically. In fact, it’s well endowed with quite a few hummable, enjoyable tunes. Those who are ALW’s fans might as well be in for a treat – as all of the megamusical maestro’s signature resources have been secured and implemented: long fast-paced numbers pasting short themes altogether, simple but catchy pop-rock anthems serving as the piece’s leit motifs and, most refreshingly, a couple of numbers penned in a 7/8 or 7/4 bar.
Directed by James Grieve, the musical triumphs at providing the audience with an engaging recount that’s generally fun and amusing to watch. Conceived as more of a farce than a serious reflection on political issues (be prepared for camp in the spirit of a chef’s kiss), the show is an actual example of how a grave potentially gloom theme can be turned into a night of pure plain entertainment. And it’s okay, even welcome, to have it this way this time.
With quite a compelling cast that stands out especially through their mutual chemistry, the highest praises go to Jenny Fitzpatrick as Berlusconi’s lover Fama, thanks to her magnetic acting, as well as Natalie Kassanga as Bella, due to a most delightful vocal rendition. However, the biggest star in this production is also the head of the billboard, as Sebastien Torkia’s energetic portrayal of Berlusconi, in a performance that remains onstage for almost the entire course of the show, is worthy of acknowledgment.
This may not be the riskiest piece you can find in the London scene – after all, 45 years of cultural fandom have proven that both questionable leaders singing potential new hits are more than suitable for the stage (and also, Antonio Banderas is getting closer to the protagonist’s age – just a suggestion). But whatever the case, there’s something undeniable about this work, and that’s that you will not leave the venue saying you didn’t have fun. And that may be all that counts at the end of the day. Certainly, you will not tell this show (or its creatives) to vaffanculo.
Berlusconi plays at London’s Southwark Playhouse Elephant from Monday to Saturday until 29 April. Tickets are available on the following link.