Ballo al Savoy

Dancing at the Savoy not just an operetta (and it is!), but much more. In addition to the waltzes, arias and love duets, this work is full of wild rhythms, from Argentine tango to swing, with clear allusions and references to the musicals that were in those years (this is 1930) depopulating overseas. In particular, there is a resounding presence of Cole Porter, whose paraphrase of “Night and Day” is inserted by Abrahm.
The difficult task is to stage a sort of musical, without betraying the operetta spirit of the plot and some of the music.
The adaptation of the script was entrusted to Silvia Felisetti, an artist to whom the title of “soubrette” (a title that few women in Italy carry with full merit…) is in any case a narrow one, as her knowledge of musical theatre goes far beyond the operetta genre. Having many valuable singer-actors at her disposal, Silvia Felisetti has made some characters that have a marginal weight in the original much more important.
The direction is entrusted to Alessandro Brachetti, the company's comedian, who has a great deal of directing experience.

Stefano Giaroli

Nice, 1932. In the lobby of the Savoy Hotel, the return of Marquis Aristide de Faublais and his bride Maddalena from their long honeymoon is celebrated. But Aristide receives a telegram from his lawyer, informing him that, in order to gain access to his late father's estate, he must honour a commitment made in the past by his father, which consists of spending a night with Tangolita, a Spanish dancer. Aristide will therefore have to find a stratagem to honour the commitment without jeopardising his marriage…