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Rugantino
By Joel Benjamin Rugantino is a spectacle that winningly combines Italian folk themes, music, dance, a large cast, a huge set and more than a few sly pot shots at the church, the rich and the pompous. That it may be about an hour too long a dose of quotidian Italian culture for American audiences went completely over the heads of the numerous Italian speakers in the audience who ate it all up, cheered at favorite moments and even sang along a bit with familiar songs. Enrico Brignano starred. He is a thickly built, handsome man with unquenchable verve and a engaging singing voice. Rugantino was written by Pietro Garinei & Sandro Giovannini (books and lyrics) and Armando Trovajoli (music) in collaboration with Pasquale Festa Campanile and Massimo Franciosa. This production was staged by Enrico Brignano who kept the company at full tilt, throwing subtlety to the winds. Although this performance suffered from using a pre-recorded musical soundtrack the actors all sang their hearts out, knowing how to communicate with their audience.
Rugantino, the eponymous character, is a likeable scoundrel who roams about 1830s Rome loving the ladies and taking down the nobility a peg or two. Even though, in the end Rugantino is hoisted by his own petard, his bravado catching up to him, he is a sympathetic guy with loads of energy. When first seen he is foisting off his former lover, Eusebia as his chaste sister for the consideration of the executioner, Mastro Titta who actually eventually does fall for her. Meanwhile, Rugantino, himself, on a dare pursues a local beauty, Rosetta who is married to a powerful man, Gnecco. To his surprise, he actually falls in love with her. This up and down relationship is the backbone of Rugantino’s plot leading this inwardly noble peasant to his deadly fate at the very hands of the aforementioned executioner.
In between his first falling for Rosetta and martyring himself for her there are songs warbled by the entire company and many earthy dances choreographed by Gino Landi combining ballet and Italian folk dance. Eusebia and Rosetta each get a song exploring their plights. There is a Stray Cats Lady played by character actress Silvana Bosi who has a bit in the second act; a Serenade Singer (Andrea Perrozzi) with a light, passionate voice; a ditzy German artist, played by Mario Scaletta who also does the pompously foolish Cardinal Leopold who hears several plot-bending confessions; and a batch of nasty upper crusters who have it in for Rugantino; plus a large, good-looking chorus who perform this material with gusto. The leading roles were played with zest. Vincenzo Failla was the loveable but ambitious executioner with a conscience. Paola Tiziana Cruciani was a full-bodied Eusebia while Serena Rossi was a gorgeous Rosetta with a lovely soprano. Holding it all together was Mr. Brignano who pretty much owns this part. This production comes straight from a tour of Rome, Milan and Florence. It is far more extravagant than the version that played on Broadway in 1964 where it was a big hit. The set by Giulio Coltallacci, on two concentric turntables, just kept revealing one patch of Rome after another in astounding complexity and beauty. The costumes, also by Mr. Coltallacci, were equally colorful and period perfect. It’s a shame this was such a short engagement. Rugantino (June 12-14, 2014) New York City Center 131 West 55th St. (between 6th & 7th Aves.) New York, NY Tickets and Information: 212-581-1212 or www.nycitycenter.org Running Time: 3 hours 15 minutes with on intermission 
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