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So is (if you like), directed by Massimo Castri

We are in a ballroom during a carnival twenties. Between the loud music, a background chatter, already tipsy couples in the room who draw silver confetti and parade, to present themselves as the participants, expose, in anxious conversations and deliberately to really understand the background to the comedy "So if (if you like). There are sharp hearing, we would like to move closer to the point of finding there, inside the ballroom, including the actors. At the heart of their chatter, there are the obscure story of the spouses Mrs. Frola and Ponza.

A dance of puppets in the flesh and in evening dress, eccentrically dressed, highlight the stark image of a company but also comic alarmed by the arrival of something or someone that you do not know.

This " So it is (if you like)" stands out above all the motivation and purpose of the show arising from a course for young actors. The skills and enthusiasm of the performers, Massimo Castri, has found an ideal habitat for digging to the bottom of the pages of the Nobel Prize island.

A whole country is anxious to know what the truth about the strange behavior of the family Ponza. The curiosity stems from the fact that the so-called mother of Mrs. Ponza, Mrs. Frola , does not live with her daughter and her husband, indeed not even enter into their home, communicate with her daughter only through the cards exchanged by means of a basket lowered from the window. The scene is split in two. On the one hand the group of suspects, the other suspects. Each with its own "truth", and indeed within each group with a myriad of facets that make it difficult, until it becomes a "non-truth."

Pirandello was inspired by a true story. But here, as in the whole drama Pirandello, objectivity is impossible to know and looks very different depending on your point of view. With the result that the mystery of where the story was started - the wife of Signor Ponza is the daughter of Mrs. Frola, or another? - Is always busy. Even and especially when, with that great shot of the theater, it appears the young woman, the wife of Ponza. The tone of the grotesque, with whom Castro has played to excess, may serve to expose something else, more difficult to say. Perhaps there is a ménage à trois, even incestuous. One topic that is discussed in more detail by Pirandello in a little farther on, "Six Characters in Search of an Author. Even at the end when the intervention of the Prefect requires the presence of a recluse, the truth will come out, or, rather, we must satisfy the affirmation of Mrs. Ponza, they are simultaneously all things have been said and nothing. The truth is no object, but in the perception of it.

Castri us closer to the pages of Pirandello without escort, without guidelines, and any audience will respond as it sees fit. May, in total freedom, get out from the show any more personal interpretation, never forgetting though, that every truth, even the most convincing, conceals another, more difficult to say. A freedom that knows so much about loneliness.