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Travel Tip: Pop Culture and Cinema in United States
Blue Day

Alessandro Corazzi: Blue DayPhoto courtesy of La MaMa E.T.C 
Alessandro Corazzi: Blue Day
Photo courtesy of La MaMa E.T.C
Blue Day: By Alessandro Corazzi
NEW YORK  •  La MaMa  •  Ongoing

Alessandro Corazzi, an Italian playwright and filmmaker, will have his first American production at La MaMa with Blue Day, a two-character play that has equal measures of Sartre and Murray Schisgal. The play has been translated by Celeste Moratti and will be performed in English, directed by the author.

The play takes place at the time of day that John Steinbeck called "pearl time," the break between night and day when time stands still and examines itself. (The play's Italian name is "L'ora della perla.")  Giulio, a temperamental man of 35, sits outside a factory holding a sign that says "I Lost." He has drenched himself with gasoline and plans to set himself on fire.  He has also notified the news media of the impending debacle.  His suicide is interrupted by the arrival of Carlotta, a fresh, pretty and sassy 17 year-old girl, who ultimately saves his life with her spunkiness and her ability to lie. The play, then, is their delightfully ironic dialogue about reality, existential problems and social injustice.  It's dedicated to "the ones who resist."

Giulio has lost his job due to "the crisis," a great financial downturn.  His factory is going bankrupt and that's infuriating, but Giulio's impulse is to take his anger out on himself.  He was laid off a month ago, but in shame, has concealed it from his wife, who has continued to send him off with a delicious lunch each day.  When Carlotta asserts that everything is solvable, that in the 1970's American Airlines balanced its budget by taking away an olive from the first class salad, Giulio identifies with the olives.  Their repartee is a charmingly absurd juxtaposition of his comedic bitterness with her cheerful youthful innocence. Carlotta challenges him with a delightful run of distractions and made-up profundities like, "Did you know it's possible to kiss your elbows? And that a cow can climb up the stairs but it's not able to climb down? Who knows why! And did you know that the duck's "Quack, quack" does not produce an echo?"  Giulio's response is to characterise his life as a carnival punching ball, which measures the power of the punch.  His father once made the highest score. After that, he "took a lot of punches," working at the same factory where Giulio was employed, dying of silicosis. Now Giulio doesn't punch the ball, it punches him. That's until the end of the play, when he finally learns to punch back. 

Ira Lopez (Giulio)
Jessica Kuhne (Carlotta)

La MaMa E.T.C Website

Detailed schedule information:
Thursday -Saturday at 8:00 pm
Sunday at 2:30 pm

Contact: La MaMa E.T.C
74A East Fourth Street
New York, NY
Tel: (1) 212 475 77 10

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