For the 30th anniversary of La Comedie Italienne, the theater company he founded with his wife, Attilio Maggiulli decided to "stretch" her talents well beyond commedia. He chose to have her do so by playing a great character not meant for an actress, one that would excite her as L'Aiglon did Bernhardt and Hamlet challenged Duse. A serious, bio-historical play would also be a change for the theater that keeps alive the tradition of the Italian players and commedia in France.
Both were choices that brought in record audiences. Helene Lestrade made another grand mark in her career by portraying Casanova, smooth as his rose silk garments. Whether owing to her interpretation or because she had been ill and suffered laryngitis, her voice resembled Don Corleone's soft huskiness. Trim figure, good skin, penetrating eyes added to her seductive manner.
If ever a beginning set tone, it was Cardinal Manfredi at a buffet and bejeweled, all-in-black Count Waldstein (David Clair, who grows ever wilier) preening before a mirror just before host Casanova enters. Along with the latter's servant Colleoni, they will all play an elaborate game of Pharaon. It's both a real game of the type that financially brought down many of the continent's gamblers but also one symbolic of European politics. The place of the church in the latter is taken by corpulent Cardinal Manfredi. (Jean-Jacques Pivert endows him with all the spirit of a medieval comic vice, especially as he extols food and rape.) Casanova is not above arranging a little magic nor having Colleoni (restrained Candido Femperini) help him cheat.
After much deviousness and despite "sublime" acting, Casanova loses. The Count finally makes him a virtual prisoner in his castle (represented here as a golden cage), where Casanova will declare his love of solitude and will write. Having predicted he would have theatrical immortality, however, was he not a winner?
I admired this production especially for the distinctive beauty of the images presented and Lestrade's memorable gender bending. It proved Maggiulli can deftly handle a serious drama. But I wouldn't have enjoyed it as much without the satiric touch that funny Pivert supplied as the outrageous Cardinal. No one does Italian comedy like this company, and I look forward to its resumption of tradition, hopefully for another 30 years.
