Shakespeare between comedy and nightmare: "The Taming of the Shrew is scary today."

A compelling and timely comedy, capable of provoking reflection on patriarchal culture. It's William Shakespeare's "The Taming of the Shrew," adapted by Francesco Niccolini and directed by Roberto Aldorasi, on stage tonight at 9:30 pm at the Teatro della Fortuna in Fano. Amanda Sandrelli stars as an intense, wounded, and deeply human Catherine. "A character often misunderstood," she says. "Her relationship with Petruchio is violent even in the original text. Only today we see it differently: a woman deprived of sleep or food is no longer funny; it's manipulation. Niccolini's rewrite lightens the structure, but doesn't betray the meaning. And it allows us to say something that resonates strongly: violence against women is still part of our present. And when it can't be tamed, it even leads to murder."

How contemporary is this Catherine?

"Very much. As long as we think that those who commit violence are monsters and those who suffer it are passive victims, we're missing the cultural root. It's not just about beatings: it's the way a relationship is established, it's the language. And it needs to be recognized right away."

What did it mean to you to play her?

It's been a tough journey. Catherine resists until the end, but for this very reason she is broken all the more forcefully. The final monologue isn't a trick: it's a surrender. The last line, 'Nowhere is there better feeling than under thy master's foot,' is Shakespeare's, and it's terrible. When there's a victim and an executioner, there's always someone who has chosen to look the other way.

Even the title is a declaration of intent: 'tame'.

"Yes, and it's a violent verb. In Italian we also have 'domesticare', which is something else: it makes me think of the fox in The Little Prince. But 'domare' means to subdue, to break. And it's used for wild beasts. The difference is huge."

And how did the public react?

"They're expecting Kiss Me Kate, but instead they find themselves faced with a completely different story. But they're not disappointed. The charade is there, they laugh, they have fun. But then comes silence. And amazement. Francesco says something very beautiful: it's like opening the door to a room where an abusive couple lives. You don't see everything, but you can sense it."

How do you strike the balance between comedy and nightmare?

"It's incredibly difficult. The credit goes entirely to Roberto Aldorasi. It's our first time working together, and I had a great time. He's also a musician and has a very fine ear for rhythm, both visual and sonic. This balance between lightness and anguish is his."

There's also talk of a door closing. What happens there, in that blind spot?

"That's the key point. Shakespeare makes us laugh with something that's scary today. It's not a mistake. It's a sense of unease that runs through the entire text. The audience enjoys it, but something doesn't add up. There's no happy ending. But perhaps there's a chance to see things with new eyes. And that's enough."