When the playbill for this year's Stratford season was released we noticed a comedy set in WWII Naples. Though unknown to most theatre-goers in North America, the author of Napoli, Eduardo De Filippo (1900-84), is regarded as the one of the great Italian playwrights of the 20th century. He wrote plays and screen plays and acted in both media. Curious, we selected this as our birthday play from Mom. A friend had been to see it shortly after it opened and let me know it was more tragic than comedic. The reviews were quite good so I was even more curious to see the production yesterday.
In the end we saw a wonderful piece of theatre that reminded me of what theatre is supposed to do - entertain, tug at your emotions, and cause you to ponder the world a bit more deeply than before.
The play is divided into three acts with a long gap of time between Acts 1 and 2. Act 1, set in 1942, has a generally comic tone, and introduces us to Gennaro Iovine, a former streetcar driver, and his family and friends. There has been bombing overnight and everyone is sleepy and looking forward to a cup of coffee. Gennaro’s wife Amalia (Brigit Wilson) is angry about the tactics used by her neighbour who, as she is, is involved in the black market sale of coffee. Her main supplier is the truck driver Errico Settebellizze (Michael Blake), who tells people that Amalia is merely storing goods for him. In fact, Amalia has an enormous range of goods all stored in and under her bed that range from coffee and beans to eggs and cheese. Neighbours come to her and if she doesn’t have certain product, she says she can arrange to have it later. Gennaro generally frowns upon this activity but knows that without it his family will starve. He is also supportive, in a backhanded way, of anything which goes against the directions of the Mussolini fascist regime.
Act 2 begins more than a year after the events of Act 1 and the tone is less comedic. The Allies, who first entered Naples on October 1, 1943, now occupy the town and southern Italy. Gennaro has gone missing and Amalia has had no word from him since his disappearance. The Iovines’ once dingy home of Act 1 is now filled with expensive furniture and a chandelier and Amalia is now well dressed and sports jewelry all due to her continued thriving black market trade. In fact, all the family members seem to have changed. No longer is the focus of their existence survival but rather getting wealthier and in some cases even. Whereas in Act 1 one had a sense that everyone was looking out for one another, in Act 2 the characters were more focused on living for the moment and themselves.
Act 3 is short but powerful. Gennaro who returned from the dead at the end of Act 2 is generally bewildered by what has happened to his wife and children. His house has changed, his room is gone, and the people around him are engaging in a party while the horrors of war continue to unfold. The final act has a few moments that tug at your soul. Gennaro's return brings with him a first-hand knowledge of war and war infects even those who are not fighting. He reflects upon the lack of humanity he finds. In particular, Amalia’s exploitation and lack of pity for the accountant Spasiano. Spasiano will later have to remind her that “Sooner or later everyone must knock on the door of another”.
The theme for Stratford this year is free will and the choices we make. This play is a wonderful embodiment of free will and the frailty of human character. The easy choice is often not the best choice - we see this in Act 2. In Act 3 the characters begin to recognize this critical lesson with the help of Gerrano and Spasiano. Gerrano has recognized this throughout the play whereas Spasiano has come to that realization as the result of a fall from grace and intense suffering. Together they help the other characters understand that life is often better when we make the difficult choice and don't chose the easy road to walk along.
McCamus is brilliantly droll as Gennaro, a veteran of the First World War and an out-of-work tram driver who has retreated from life with the onset of this new war and Mussolini’s fascist regime making day-to-day existence a struggle. I am still haunted by his portrayal of a broken Gennaro sitting quietly upon his return, hunched over, seemingly becoming smaller and smaller as the party around him erupts. This image of people being willfully blind to the pain and suffering happening around them is heartbreaking but also incredibly relevant in the world we live in.
At the other end of the spectrum is his tightly wound wife Amalia, played aggressively by Wilson. Wilson follows the play’s trajectory with her role, beginning with full gusto and crumbling internally throughout the rest of the production, wracked with guilt over her job, her family, and the pleasure that she gets from the luxury she lives with.
War can make us better, Gennaro says, in that it makes us not want to hurt anyone anymore. But in the same breath, he has no trouble blaming war for the unscrupulous actions of his wife and others. It’s all a matter of patiently waiting for the darkness to depart, De Felippo tells us.
Whether we believe that or not, Napoli Milionaria is a thought-provoking story and an engrossing history lesson that remains as relevant today as it was when it was written more than 70 years ago.
Does war in fact change people, or does it reveal character?
The play continues at Stratford until October 27th.