Interview with the protagonists of the theatrical performance, which after the premiere at the Vaccaj Theater in Tolentino (MC) last July on the occasion of Genesis Day, is available on DVD.
The project was played, sung and acted for the first time in Italy.
Inside the DVD box set there are two digital media, 1st and 2nd time plus a booklet with the various recited passages, by the Turin writer Mauro Comba, and all the info on this project.
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Here's what the protagonists told Horizons Genesis:
D: Mimmo Vitale, you took care of the shooting, editing, packaging and release of the DVD. What's new about this staging of The Lamb Lies Down On Broadway?
A: Unlike my other works, on stage there was not only a band playing, but actors, dancers who recited and sang in unison, recreating the atmosphere and emotions that only this Genesis masterpiece still us today. transmits. The spaces, the times of entry of the same on the stage, had to be filmed in such a way that the multicam could immortalize the moments, the faces and the words that were recited, sung and danced. Yes, because this show, I would almost say a "musical" is the first ever, at least in Italy, of its kind. The “CAGE” as per the title of the DVD, is mounted exactly in the center of the stage, and is the fulcrum of the whole Rock opera. A “GoPro” -type camera was placed right at the base of it, to propose the moments that the character “Rael” Paolo Lazzerini, played, played and sang to those who had to see this work. In short, as you will see from the DVD, I think I have framed all the highlights of the show in the best possible way.
R: Antonella Paglietti "director": The show is a psychological reading of the character, an attempt was made to stage the monsters that populate the mind of Rael, a man deeply alone and locked up in his mental cage that becomes visually physical. Monsters in which, if you are honest with yourself, you recognize yourself and which we try to remove. Who does not have a brother or a neighbor conformed to the canons recognized by the society that one would like to emulate but that the deep self rejects in a continuous torment?
D: What criteria does the acting part meet?
R: Antonella Paglietti "director": The acting ranges adapting to the contents, from a contemporary realistic acting to an evocative one to touch the Greek tragedy. But that wasn't enough. The voice hardly manages to express all the inner dramas, so the bodies become essential tools. A dancer expresses the inexpressible of the word and helps the actors to "act" through the ancestral medium which is our body.
D: Compared to the Genesis concerts, which aspect is privileged?
R: Paolo Lazzerini "singer": The show “La gabbia” follows a totally different approach: the stage action is an integral part of the representation, merged with the music, as in a kind of musical. There is not a singer performing the vocal scores while an actor, or a dancer, plays Rael; the singer is Rael, in music and action. But above all, there are original, complementary acting parts, which integrate the plot of the disc, in a new reinterpretation of the story we all know. The viewer is led to see reality through the distorting lenses of the protagonist's schizophrenia; the fantasy world created by Peter Gabriel is none other than the projection of Rael's fantasy, who is actually locked up in a psychiatric hospital. In short, this show is absolutely one of a kind and different from any other version of the Genesisian masterpiece that has been done in the past.
D: How is the strong mysticism of Gabriel's message rendered?
R: Antonella Paglietti, "Director": Answers were sought in vain with Rael through the text of M. Comba who, disjointed in his flow similar to water, adapted to the contents of the music in the mystical search for an absolute through the annulment of the individual personality.
D: In 2024 it turns 50. Is the tale of The Lamb still relevant?
R: Mauro Comba "text author": The story of The Lamb it still seems relevant to me because - continuing to think of Peter Gabriel's mysticism - the image of the sacrificial (and sacrificed) lamb is precisely a powerful evocative image that the imagination of the Christian world (of believers and non-believers) has somehow assimilated, in over two millennia of civilization (whether or not you share the message is again a different matter, which here does not count to debate as it would be out of place): here the lamb "lies down on Broadway "(did he walk there or did he come down from above? But, anyway, where was he before he lay down right there, right on Broadway?) but the same lamb (in the message, e.g., of theApocalypse of St. John) stands up even if slaughtered: as in a rebirth, a resist in order to exist. Then there is the topicality of music, even if only due to the fact that, in the last fifty years, the revolutionary and youth music of the 60s-80s of the twentieth century has inevitably become historicized. For this aspect, however, I would hear the musicians, Paolo and, perhaps, also the others. Especially as regards their interpretation, their reinterpretation, their re-creation (pass me the term) of the music of genesis.
Q: Do you think The Lamb could finally become a movie? And with what characteristics? And who could make it happen?
R: Paolo Lazzerini "singer": Over the years, many attempts have been made in Italy and around the world to stage the Genesis masterpiece: some based on the use of films and light effects, along the lines of the original setting of the 1975 tour concerts, others who made use of actors / dancers. All these different, and often very valid, versions have one thing in common: there is a group that plays live, with a series of scenic “complements”, different and distinct from the group itself.
R: Mimmo Vitale: That it becomes, we really hope so in many, but honestly I strongly doubt it. Over time, the problems caused by the pandemic have worsened this market. And what is more, as he did in 1974, only Gabriel writing RAEL's fictional story could do it, but today's Gabriel is no longer that of 1974. We have wasted too much time.
D: In terms of shooting and editing, what were your criteria?
R: Mimmo Vitale: As I said before, the difference in shooting between a band that just plays and dancers / actors lies precisely in the dedicated shots. The moment, the total of the stage to make it clear to those who see the DVD, to be part of it. In post production you need to give the feeling of continuity of the movement without giving the show dead time.
D: What are the contents of the box?
A: In addition to two (2) 1st and 2nd half digital media, the box set includes an informative booklet;
- the plot of the show, divided into two acts (it should be noted that it was written by Paolo Lazzerini);
- the text by Mauro Comba;
- a final note, right on the last page, therefore easy to find, in which the "reasons" of the "madness" (excuse the pun) of the text are explained and motivated. But if we have chewed a little of Beckett, a little of Ionesco (and why not, a little of Eduardo De Filippo too), a little of Expressionism, we will perhaps understand a little better the intentions of those who wrote it. , the text. However, always considering that, for those who have chewed and chewed i genesis, references to certain texts by Peter Gabriel will suffice (and would be enough).
D: Can it be a good Christmas gift (and not only)?
A: The box may well be a great Christmas present but - why not? - also of the Befana, of Carnival, of Easter, of June 2, of August XNUMXth, of every birthday, name day, anniversary, of every who-more-has-more-more-metta: in a joke: why not? Because yes!
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