La lotta al terrore

The strategy of the play is to exaggerate the contrast between the gravity of the tragic situation and the ridiculousness of the reaction, making predominant the atmosphere of inadequacy on stage. There are not good heroes, nor, on the other side, the Evil One on whom we could pour out our hate and frustration. (…) The show points out the most fragile and anti-heroic side of humanity. (Enrico Piergiacomi,, 21st March 2020)

“The choice of Lucia Franchi and Luca Ricci’s dramaturgy is without doubt successful and frees all the comic potential of the three close actors. The claustrophobic obsession and the inexorable events coming to a head remind me a piece by Yasmina Reza, Le Dieu du Carnage, a Polanski’s movie too. The two works have in common the same taste for the verbal conflict, the characters’ “brilliant meanness” and the plain, but probable, writing”. (Iacopo Gardelli,, 10th November 2018)

“In this show, even if minimalist, the plot is really meaty and full of coup de théatre (…) It is grotesque, it makes you laugh. But you feel like crying…” (Valeria Palumbo,, 11th October 2018)

“A comedy of misunderstandings which shows a crescendo of fear and inadequacy”. (Maria Dolores Pesce, 23rd March 2018)

“It looks like to weave through the actors’ eyes wide open, in a sort of tridimensional long shot whose final effect is a cathartic immersion in our moral and formal impotence”. (Simone Carella,, 21st January 2018)

“The protagonists are dynamic, energetic and restless”. (Susanna Donatelli,, 21st January 2018)

The nightmare of terrorism arrives for the first time at theatre in an original way, with unity of place and time, in tenser and tenser atmosphere where protagonists’ thoughts and actions- sometimes improbable- break and relieve tension. (Maresa Palmacci,, 18th January 2018)

A dramaturgy able to stand rhythm and contents, an outstanding performance of the three actors in a minimal space, where few signs becomes a not-mentioned stage direction ( a congenial solution) for alluding without invading. (Emilio Nigro,, 24th December 2017)

Franchi and Ricci keeps their show- generously acted by the unusual trio Faloppa- Paolocà-Savatori- in dangerous balance between naturalism and grotesque- conscious of the inflammable content they are dealing with. It is a present-day burning theme, but it becomes sensible if you choose a grotesque approach, as the authors do. (Laura Bevione, Hystrio, October 2017)

A really unique performance, which attracts the public thanks to actors’ energy and emotional tension. We, enjoying the uneasiness, felt almost like hostages too. (Andrea Pietrantoni, Sipario, September 2017)

A look which seems to show how the sentiment of terror has been able to reinforce the logic of homo homini lupus , even against the closest ones. (Michele Di Donato,, 9th August 2017)

The authors are thinking of “ L’Homme révolté” (“The Rebel”) by Albert Camus, where the metaphysic revolution could justify judgement and crime against enslaved society. But here, on stage, in this play- parable about fear, the trio who works in the bureaucracy of a council, has not antibodies to oppose violence. It acts and reacts like in Ionesco’s absurd dramaturgy. (…)It is well written, directed, acted. With situations for faintly smiling. (Rodolfo Di Giammarco, La Repubblica, 23rd July 2017)

Thanks to the three actors the work on relations makes its precise stratification clear. The dramatic tones alternate with ironic situations, where a formal register is interspersed with typical hysterics of those who, for surviving, must shift onto absurd and nonsense. (Lucia Medri,, 21st July 2017)

The show sustains the idea that we are all targets, unable to defend ourselves. But also the fear of otherness, common to great many persons, emerges and, all of a sudden, could transform itself in a terrible nightmare. (Luciano Uggè,, 19th July 2017)

The situation, credibly represented almost like a live fact, becomes darker and darker. (…) The reality, sadly, is well represented in this portrait of three normal persons. (Simona Frigerio,, 18 th July 2017)