by InTrieste
The 2024-2025 season of Rossetti theater kicks off on October 2nd with a nod to its own storied past, opening, as it did 70 years ago, with a masterpiece by Carlo Goldoni. This year’s season opener is Sior Todero Brontolon, a comedy directed by Paolo Valerio and featuring Franco Branciaroli in the lead role. The new production, a collaboration with Teatro de gli Incamminati and Centro Teatrale Bresciano, celebrates both Goldoni’s timeless work and the continued evolution of Italian theater.
Valerio’s vision for Sior Todero Brontolon, a comedic portrayal of a grumpy and miserly patriarch, is as bold as it is respectful. In a unique twist, he brings the world of puppetry on stage, mingling Goldoni’s characters with their marionette alter egos. The production, which delighted audiences at its national preview in Verona earlier this year, is now set to captivate theatergoers in Trieste, where Goldoni’s world will come to life with humor and flair.
“This is not just a play—it’s a meeting of two worlds,” says Valerio. “The human and the marionette. The living and the symbolic. Goldoni’s text provides the structure, but the puppets lend an additional layer of meaning.”
The production marks a significant moment for the Teatro Stabile del Friuli Venezia Giulia. Founded in 1954, the theater chose another Goldoni play, La Donna di Garbo, to inaugurate its very first season. Returning to Goldoni for this anniversary is not just a homage, but also a reminder of the playwright’s lasting relevance. Sior Todero Brontolon was first performed in Venice in 1762, where it was met with enthusiasm, and its central character—a stingy, oppressive old man—has intrigued audiences ever since. Today, the play feels surprisingly modern.
A Character for the Ages
The title character, Todero, is a classic Goldoni archetype. He is miserly, authoritarian, and downright unpleasant. As Valerio notes, “It seems impossible to empathize with such a figure, yet this is the genius of Goldoni. He creates a character that is so well-crafted that actors have long been drawn to the role.”
Actors such as Cesco Baseggio, Giulio Bosetti, and Gastone Moschin have brought Todero to life on stage, and now it’s Branciaroli’s turn. Known for his powerful interpretations, Branciaroli’s take on Todero promises to offer a fresh perspective. His portrayal follows his widely praised turn as Shylock in Shakespeare’s The Merchant of Venice, also directed by Valerio.
Branciaroli, much like his predecessor actors, delves into the contradictions of the character. Todero is odious—imperious with his servants, oppressive toward his family, and distrustful of the world—yet Goldoni’s writing allows for moments of surprising humanity. “You don’t sympathize with Todero, but you understand him,” says Valerio.
In the play, it is not Todero who emerges as the hero but rather the women around him. Goldoni imbues his female characters with intelligence and agency, allowing them to navigate and ultimately resolve the chaos caused by the overbearing patriarch. The partnership between Fortunata, a sharp-witted widow, and her daughter-in-law, Marcolina, creates a triumphant counterpoint to Todero’s bluster. The women’s triumph over Todero serves as a reminder of the strength and resilience often found in Goldoni’s work.
Puppets Take Center Stage
Adding a layer of complexity to this production is Valerio’s use of puppets, inspired by Goldoni’s own fascination with them. In the director’s notes, Valerio draws a parallel between Todero and the archetype of the “Great Puppeteer,” who seeks to control everything around him, much like the patriarchal figure of Don Vito Corleone from The Godfather.
“The puppets are not just props; they represent the hidden parts of the characters—their unconscious motivations and desires,” Valerio explains. “At times, the puppets act in harmony with the actors; at other times, they seem to contradict them, creating a tension between mind and body, intention and action.”
The use of puppets also pays homage to Goldoni’s own childhood memories. As he recounts in his Mémoires, his father built a puppet theater at home, instilling in young Carlo a lifelong love of the craft. “It’s an intimate connection between Goldoni’s world and ours,” says Valerio. “The marionettes allow us to explore the play from a fresh, imaginative angle.”
A Timely Reflection
In an era when the concept of patriarchy is being examined and challenged, Sior Todero Brontolon feels strikingly contemporary. The play’s exploration of familial control and societal expectations resonates with modern audiences. “This is a comedy, but it is not without its darker undertones,” Valerio notes. “The resolution may be joyful, but it also invites us to reflect on the power dynamics that still shape our world.”
For Trieste, a city steeped in culture and history, this production serves as both a celebration of tradition and a bold step forward. As the Teatro Stabile del Friuli Venezia Giulia marks its 70th year, Sior Todero Brontolon invites audiences to laugh, reflect, and consider the enduring genius of Carlo Goldoni.
The play will run through October 6th, with tickets and subscriptions available through the theater’s website and box office.
