Presented by Zero de Conduite theatrical workshop, Roberto Zucco, French Immigrant in Naples, was the only theater on tap for the July-August open-air series in the Renaissance-era Monteoliveto Cloister, sandwiched between Fascist-period buildings in central Naples. Unlike Galleria Toledo's interesting offerings for that space in past summers, this year the majority of the programs were of popular Neapolitan music.
Director Carmen Luongo's equal interest in theater and film shows in her work with these young actors. While the large square playing area with audience seated on three sides calls out for an imaginative theatrical approach to this story of moral dissipation, the players often give small-scale performances. With the enfant terrible title character first seen raping his sister and then, after release from jail, continuing his life of crime and debauchery, the story line is clearly meant to shock. As the insouciant Roberto, a giddy Raffaele Calafiore fails to communicate the irony of his character's unbending cruelty while searching for notoriety. His encounters with one or two persons in short scenes form the bulk of the play, apart from a few excellently-staged group moments for the entire cast. Seated along one side of the platform while they are not onstage, the actors demonstrate a lack of concentration that may have contributed to a lessened believability while onstage. Also, the ingenuous acting style of most gives this performance a workshop feel.
The outdoor venue means that substantial amounts of the Neapolitan text is lost, in spite of numerous mikes ringing the stage. Ernesto Esposito's black and white costumes and the absence of scenic elements other than a chair contribute to the stark atmosphere; Ms. Luongo's uninteresting lighting design may have been governed by technical considerations. She was memorable as the Madame teaching her new girl how to walk seductively.
