The unsuccessful lawyer Malinconico arrives in Sicily. Gallo: "In an era where everyone must appear perfect, he doesn't care."

His name is Malinconico, and it couldn't be called anything else. Unlucky lawyer and very prone to questioning life, Vincenzo Malinconico stumbles through trials and gets lost in thoughts, going through the days with self-irony and a fragility he doesn't try to hide. Created by Diego De Silva, on stage he is portrayed by Massimiliano Gallo, who also directs Biagio Musella, Eleonora Russo, Diego D’Elia, Greta Esposito, Manuel Mazia. The show arrives at the Teatro Al Massimo in Palermo from today until the 21st, on the 25th and 26th of March at the Teatro Metropolitan in Catania, and from the 27th to the 29th at the Teatro Vittorio Emanuele in Messina.

What were the difficulties in the theatrical adaptation and what are the strengths of the show?

“There were many difficulties, and initially, I thought of a monologue with music, but I wanted a comedy. While taking care of the direction and the script together with Diego, I envisioned the set design not as a backdrop, but as a narrative tool. Luigi Ferrigno created an essential and flexible space, capable of following the flow of Malinconico's story. Every object, light, or projection brings out the protagonist's inner world, his memories, doubts, and emotions. The music by Joe Barbieri and the lights by Alessandro Di Giovanni complete this emotional architecture, transforming the stage into a place where the audience can empathize, laugh, and reflect along with him. I wanted the theater to become a kind of 'mirror' of his life, simple yet evocative, where every detail has meaning and every space can tell a story. It is a very layered show that is incredibly entertaining. The funniest scenes are those in the courtroom where he faces impossible cases, and then there is the overarching theme of love and his relationship with his daughter, who is also the daughter of his first wife.”

What was it like writing it together with Diego De Silva?

“Fun and a bit crazy. I was out with a show, he was presenting books, and in the gaps, we sent each other scene pieces, underestimating the complexity of the show.”

After the success in various Italian cities, Malinconico finally arrives in Sicily.

“I am curious to see how it will go; Sicily has a great theatrical tradition. I haven't been in a while, and I can't wait to return.”

How much of Malinconico is in you?

“He is a character I love and that I have tailored to myself. There’s the sympathy and the way of downplaying complex situations, and the empathy towards others. We don't resemble each other in our attitude towards life: he doesn't want to participate in the race of life, he is not really interested; I, on the other hand, am the opposite, I would say competitive.”

What is the secret of his success?

“His reassuring side. In an era where everyone has to appear perfect and performing, he doesn't care. He is politically incorrect but empathetic, hates political correctness, and in violent times, someone who talks about living love still with butterflies in the stomach, caring for others, becomes revolutionary.”

And what does the audience think?

“After seeing the show, they write to me that they had fun and feel reassured knowing that there is someone who fails more than they do.”

Television, theater, cinema, so many roles to play and mediums to engage with.

“In Italy, there is still a clear distinction between mediums. Elsewhere, it is not like that. If you are a trained and mature actor, you can do everything. Theater for me is a physical necessity. I need adrenaline, the audience's feedback, and physical contact. Every performance is unique.”

And while he is in Imma Tataranni, he will soon debut on the big screen as a director with 'La salita'.

“The film is set in the 1980s. The women's prison in Pozzuoli closes due to damage from bradyseism, and the inmates are transferred, some go to Nisida. Eduardo De Filippo, a life senator, often visits Nisida, refurbishes the theater, creates schools for set design and acting, and organizes the first theatrical performance in an Italian juvenile detention center. The film combines reality and fantasy in the encounter between a young inmate and a female inmate, telling a fresco of emotions and passions in Naples 40 years ago. I wanted to show the saving power of art. There is a lot of Eduardo.”

What is Naples to you?

“Without it, I couldn't live. It has a unique energy, perhaps due to the magma of the volcano. It produces talents, gets contaminated and contaminates, and does not shy away from challenges.”