Enzo Decaro and the Luigi De Filippo Company are hitting the road with over one hundred and seventy performances of “Non è vero ma ci credo” (It’s not true but I believe it). This timeless comedy by Peppino De Filippo, dating back to 1942, continues to captivate audiences with its charm.
Under the expert direction of Leo Muscato, the Luigi De Filippo Company brings this story forward to the 1980s Naples, a city still steeped in beliefs and superstitions. With a script that is both agile and dynamic, the production offers a decidedly contemporary twist. Muscato‘s touch is evident throughout, complemented by the magnetic presence of Enzo Decaro, who believes that «things work even better when there are three», and he knows it well.
Originally spanning three acts, the play has been condensed into a single act, showcasing the seamless chemistry among the ensemble cast: Carlo Di Maio, Roberto Fiorentino, Carmen Landolfi, Massimo Pagano, Gina Perna, Giorgio Pinto, Ciro Ruoppo, Fabiana Russo, and Ingrid Sansone. The stage comes to life with the evocative scenes crafted by Luigi Ferrigno, complemented by Chicca Ruocco‘s exquisite costume design and Pietro Sperduti‘s masterful lighting.
“Non è vero ma ci credo”, in a tragicomic and surreal Naples of the 1980s
In the wake of his son Luigi De Filippo, we’re transported into a slightly tragicomic and surreal Naples, where icons like Mario Merola, Nino D’Angelo, Pino Daniele, and Maradona once shared the stage. Amidst this tapestry of “beliefs”, our protagonist Gervasio Savastano (portrayed by Enzo Decaro), holds superstition as his strongest conviction. He’s not merely a believer, he’s thoroughly convinced that he’s ensnared by the evil eye.
From encountering black cats to encounters with the businessman Malvurio, from the rituals of “entering” and “exiting” rooms to the horn charms adorning his office desk, superstition is woven into every aspect of his life. Until the arrival of the “savior”, who seems poised to resolve all pending matters: Sammaria, a young engineer seeking employment and enamored with his daughter Rosina.
Sammaria bears the hump, the most potent among all anti-jinx measures, serving as the antidote ever at hand amidst fervent prayers and the unraveling nerves (of others!). However, the finale takes an unexpected turn: even when faced with concrete proof that the jinx is a mere illusion, and that fate is the true master, doubt persists: it’s not true… but I still believe it!
Amidst De Filippo’s irony and Molière’s humanity
Each actor on stage brings a fresh and captivating element to the performance, offering the audience a delightful and sophisticated play. Enzo Decaro, a titan of the stage, crafts his acting with subtle nuances, generating a “progressive” humor. With each scene, he gradually fills the stage, skillfully blending a distinctly Neapolitan style with a modern and international flair, reminiscent of classical prose. Similar to our experience with “L’Avaro Immaginario” at the Teatro Parioli in Rome a few months back, the characters exude the authentic and relatable qualities characteristic of Molière’s theater.
Ninety minutes of laughter and a tribute to the artist who portrays life, not just theater.
The task undertaken by the De Filippo company was no easy feat, yet it deserves notable recognition and respect. They’ve successfully modernized the “De Filippo” ethos, which notably emphasized Peppino’s departure from his brother Eduardo in conceptual terms. Their approach features a language that is primarily non-dialectal, followed by a direct, genuine portrayal in their performances. Peppino, however, saw no need to confine his characters to a specific dialect or locale; instead, prioritizing authenticity and spontaneity in both speech and action became imperative. This approach effortlessly conveyed the essence of the narrative to the audience. It’s noteworthy that the original comedy was written in Italian, skillfully blending severity and irony characteristic of its comedic style.
This rendition of “Non è vero ma ci credo” also mirrors the blind hopes and distinctive characteristics of an Italian influenced by its own traditions, treating the audience to ninety minutes of laughter while paying homage to the artistry of a genius who doesn’t just portray theater, but life itself.
“Non è vero ma ci credo”, the tour agenda
We caught the show at the Teatro Vittoria in Rome, but there are still upcoming dates available (the tour will resume in 2025 with new shows and dates):
April 2024
19/04 Benevento (BN), Teatro Comunale V. Emanuele ore 20.45
20/04 Melito (NA), Teatro Barone ore 21.00
21/04 Lacedonia (AV), Teatro Comunale ore 21.00
May 2024
3/05 Milan, Teatro Manzoni, ore 20.45
4/05 Milan, Teatro Manzoni, ore 20.45
5/05 Milan, Teatro Manzoni, ore 15.30
The show is produced by I Due Della Città Del Sole.
Check available tickets and buy HERE.
