Ball at the Savoy is not only an operetta (and it is for all intents and purposes!!), but it is much more. In addition to waltzes, arias and love duets, this work is full of unbridled rhythms, from Argentine tango to swing, with very clear allusions and references to the musicals that were in those years (this is 1930) depopulating overseas. In particular, Cole Porter is resoundingly present, whose “Night and Day” paraphrase Abrahm inserts. The difficult task is to stage a kind of musical, without betraying the operettistic spirit of the plot and some of the music featured. The adaptation of the script is entrusted to Silvia Felisetti, an artist to whom the title of “soubrette” (a title that few women in Italy carry with full merit…) goes tight anyway, as her knowledge of musical theater goes far beyond the operettistic genre. Being able to have many valuable singer-actors at her disposal, Silvia Felisetti has made some characters who have marginal weight in the original much more important.
The direction is entrusted to Alessandro Brachetti, a comedian in the company, with valuable directing experience to his credit.

Stefano Giaroli

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

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