Only a few pages long, Giovanni Verga's La Lupa offers some of the late-nineteenth-century Sicilian writer's most memorable characterizations, which Susanna Beltrami has transformed into a theater piece combining text and dance. The widowed wolf-lady (lupa) of the story frightens the villagers because of the insatiable look on her emaciated face. Openly desired by her, handsome young Nanni instead asks to marry her daughter, Maricchia. He gets his wish, but the lupa pursues him until she possesses his body and spirit. Only death can free these condemned souls from their uncontrollable passions and the hatred of all around them. (In all, this is what might have happened had Bizet's Carmen gone back to live with Don Jose in his village.)
A modern-language text delivered by veteran actor Cosimo Cinieri in turn-of-century garb gives voice to Nanni's personal history (some of it invented) and his psychology. Interspersed are dance interludes dominated by the sultry Luciana Savignano, in a touch of ideal casting. Four different aspects of Nanni are played by as many dancers, but Ms. Savignano is more woman than the young dancers could handle even together. Also weakening their image are Kean Etro's loose pants, which are split open to above the knee and look more like skirts when the men move. Repeated leg extensions to the front gives the title character a rather predictable sensuality, while the men representing Nanni and her daughter (Sabrina Camera) have jazz choreography.
The most convincing segment is the first sexual encounter between the lupa and Nanni, about midway through the show. Cesare Picco's musical background score includes electric piano and flute.
The Teatro Franco Parenti in Milan is noted for producing and hosting innovative theater.
