1987 I STARTED MY THEATRICAL LIFE

From 1987 to 1992 I took part as an actress in three works with the same Drama Company:

• Not All Thieves Come to Harm by Dario Fo,

• Grand Molière my free adaptation of texts by the French playwright, 

• Little Prince as main role.

In addition, I also treated the theatrical adaptation of the fairy tale by Saint Exupery.

Little Prince made that year's record audience in Rome!

Then, I decided to become Director and Playwright.

1993 DIRECTOR AND DRAMA TEACHER

I started in 1993 as a teacher of theatre with a group of workers. This improvised company brought with me on stage two Dario Fo’s one-act plays.

The first one was Not All Thieves Come to Harm, a well known play being it was my first job as actress. 

The second one was The Marcolfa, my first real commitment as director-only. 

They were a success, and we brought these works on tour for two summers in some outdoor events on Lazio. 

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1994-1997 FOUR PLAYS IN FOUR YEARS

In 1994 my first encounter with Pirandello, Nobel Prize for Literature in 1934. So It Is (If You Like), staged in a small theater in the center of Rome, in my irreverent and anti-bourgeois adaptation, as the great playwright would have liked it. It was not appreciated by elder people, but the theatre was full of enthusiastic young ones.

The following two years were dedicated to Chekhov.

In 1995, the three most famous one-act plays: A Marriage Proposal, The Anniversary, and The Bear. After the staging in Rome, I took them in a Summer tour for two years. 

In 1996, the Chekhov drama Three Sisters in another Rome theatre. 

1997 was the fourth year of study of the drama classics. It led me to stage one of the most important authors of Italian theatre: Carlo Goldoni. It was a great effort to make the direction of La Locandiera (The Mistress Of The Inn), a play in three acts written in ancient Italian language, and to interpret one of the most difficult female characters of all time: Mirandolina, a proto-feminist of 1750. A huge and enthusiastic audience was the right reward for the hard work.

1998-2000 A BIG COURSE AND A BIG PLAY

In 1998 and then in another edition in 2000, I put on stage Not All Thieves Come To Harm yet, but in another theatre in Rome with a different Company. In 1999 I was contacted to teach in a drama course held in Genazzano near Rome. In that small beautiful medieval town, a group of 18 people, aged between 15 and 65, wanted to practice theatre. So the Council called me to start a course on the basics of the art of acting in a magnificent setting: an ancient castle founded in the eleventh century by the Colonna family. 

After a year of course, I put on stage the full version (three acts and a prologue) of The Poor Piero satirical and absurd comedy of Achille Campanile, an Italian writer of the '60s. I directed the 18 students and I also managed to involve the town band, which became part of the crew.

2000-2002 FIVE DARIO FO’S PLAYS

My career began with a play by Dario Fo, so I decided to devote the year 2000 to this author, Nobel Prize for Literature in 1997. 

We went on stage in Rome with a show titled Thieves, Guns and Naked Women, combining two on-act plays: Not All Thieves Come To Harm and The Dead Bodies Are Shipped And The Women Get Naked.

In 2002 we brought on stage in Ostia, near Rome, three monologues grotesques and tragical: A Woman Alone, Medea and Coming Home, written by Dario Fo and his wife, actress and writer Franca Rame.

2003- 2004 THE FIRST REAL SATISFACTIONS

On 2003 I put on stage at Teatro Tor di Nona in Rome and then at an important theatre festival in Rome (Teatro delle Muse), the play Capital Punishment, The Death Of a Man written by the contemporary author Alessandro Trigona. A play hard and poetic, staged with live original music. 

The work took the award for "the best production in research theatre", and I was selected for the interpretation of the main female character. In the same year this drama was awarded also in a festival held in the Campania region (http://seledoro.eu/eventi-speciali/festival-teatrale/albo-doro/). 

After a new stage of La Locandiera (The Mistress of the Inn) in May 2004 at Delle Muse Theatre Festival, always in 2004 the Capital Punishment, The Death Of a Man, with another cast except my character, was staged together two other one act plays: Emozioni Prigioniere (Imprisoned Feelings) by Enrica Mormile and Assassinati! (Murdered!) by me. On the stage for a month at the Teatro Tordinona in Rome, with the title La Luna in Gabbia (The Moon In The Cage). Sponsorship of the Rome Council, Amnesty International and with the RAI media coverage.

I was the playwright of one act, actress, director and producer. The play was also awarded for "the best production in research theatre of the year” with the Prize Fondi La Pastora. (http://www.trigona.cloud/pena-capitale/)

Moreover, while rehearsing the The Moon In The Cage, I was also involved in a drama workshop at the University of Roma Tre, Tor Vergata. With some students of the Philosophy Aesthetics course, I put on stage a drama written by their professor Ferrucci, Van Gogh, Vincent, with the professor itself acting on stage. 

I could consider myself satisfied.

2008-2011 CHILDREN!

Tiredness and loss of profits in 2004, convinced me that I had to stop and think about what I really wanted from the theatre.

After four years, in 2008, an old friend of mine engaged in volunteer work. She asked me to teach drama to a group of children as well as teenagers, in a poor suburb of the city. I decided to accept. 

After only three months of a course as intense as fun, I wrote and put on stage two plays If… It Happen to Dream, with the kids, and Swimming on the High Sea without a Lifebelt with a group of young girls.

The following year, for the new edition of the course I wrote another play, The Thief of Stars, funny and poetic. It required two years of work with a dozen children, and eventually we put the play on stage in 2010.

In the meantime, Claudio Rosati, my current husband, had come into my life. He brought his artistic experience as a composer, writing the music and songs for The Thief of Stars, thus starting our profitable and exciting artistic collaboration.

We repeated in 2011 where, as a result of two other laboratories, one for children and one for a group of women, we put on stage The Bewitched Island, almost a musical, with twenty-three characters.

My new path would have been the social theatre!

2010 AGAIN – A SUCCESSFUL EXPERIMENT

In 2010, soon after the staging of The Thief of Stars, an actor asked me to play with him and make the direction of a drama by a contemporary Italian playwright, Giuseppe Manfridi.

It had been four years since my last experience in professional theatre.

I read the play and I fell in love with it, despite it appeared too full in words and poor in action. In fact I saw many spaces to build an exciting and poetic performing. While working with the kids, my collaboration with Claudio was largely limited to asking the appropriate music, we began to experience a different kind of work.

Directing and composing travelled in parallel, with the one to point the way to the other and vice versa. Even the lines of dialogues were marked on the rhythm of the music, emphasizing the universality of the love story described. It was an exciting experience.

The text of Manfridi, Ceremony was staged in Rome in November of that year, earning success of public and good theatrical criticisms.

2012 I'M A GOOD PLAYWRIGHT

The 2011 was the year of my success with The Bewitched Island also as playwright. Would I been able to wright a good play for adults, dramatic and important? 

I decided to start from one my old text, a monologue that I wrote when I was young. To this play I joined two other new plays, a monologue and a little one-act with two characters. A woman, the character of a porter, was the link among the three plays. 

The final text, Seventh Floor, Flat 22, was a success of public and criticism.

In the same year and in the same theatre of Rome (Teatro Antigone), I staged also three my new plays for the final essays of my annual courses: The Feast of the Tree (women course essay), Caio is Passed (younger course essay), and Look out, the King! (children course essay). All of them with the music of Claudio Rosati.

2012 PICCOLO TEATRO DI GALLICANO

On October 2012 a small theatre, Piccolo Teatro di Gallicano, started its activity on Gallicano nel Lazio, close to Rome: 50 seats with every comfort. The theatre was specially designed for disabled people, being them spectators or actors. 

The first play put in stage was 33 Faints and More, three one-acts, two of them being free adaptations from Chekhov, while the third one, Here Comes the Wedding!, was my original play. 

The theatre opened three courses (adults, younger and children) and many little events to engage local people.

2013 BUSY, BUSY, BUSY!

The first theatrical season was very exciting: many young companies with new plays came in our theatre. The mission was to give space to the unknown productions, to help new playwrights and new styles of staging and acting.

Our company put in stage on February Il Teatro Fa Bene (The Theatre Does Well) by Rosario Galli, followeb by three monologues written by me, Isabella, Princess of Torvajanica (dedicated to a four children mother died in Rome while she went to work), The Feast of the Tree and A Waltz Once More. 

2013 was also the year of a my adaptation of a Pirandello’s play, So It Is (If You Think So).

Then three new final course essay plays:  If… It Happen to Dream, expanded and modified for a new group of children; my free adaptation of A Midsummers Night’s Dream, for the group of young; and Ophelia and The Other Women, my collage from the feminine characters of Shakespeare’s plays, for the essay of a 7 women group. 

The theatrical season 2013/2014 started with a new version of Caio is Passed, adapted and extended for our professional company.

2014 NEMESIS

Living with theatre is very difficult all over in the world, especially in a Country with economic crisis. Very high expenses and taxes destroyed our dream, so, we decided to close the Piccolo Teatro di Gallicano and seek for another possibility abroad. 

At that time, we didn’t know that the next Country in our life would have been the Great Britain. Before the closure, we decided to put in stage the last play, my adaptation of Romeo and Juliet by Shakespeare. The drama, titled Juliet and Romeo, was a very emotional work, always with the beautiful music of Claudio Rosati. 

My idea of a new type of theatre a year later would become ID&A, Italian Drama & Arts.