Protagonists of the work (which makes use of the collaboration between scenographer Filippo Garrone, choreographer Costanza Campi, Milena Canonero, Oscar winner for the costume design of Barry Lyndon, light designer Filippo Ghisoli, and a group of extraordinary vocal interpreters, including Judith Malina) Ottavia Fosco and Massimo Venturiello. “My Macbeth? – comments the actor – a rational man, fatally seduced by the unmistakable charm of his dark lady. Present with his force of speech and passion. A physicality that is concrete, sensual, fascinating, mysterious.”

Ottavia Fusco, who’s spent two years alongside Andrea Liberovici (she has performed “Rap” and “Sonnet” with great success) speaks of Lady Macbeth as an aggressive, ruthless character, with an unveiled sweetness, sometimes extraordinarily revealed. On stage she wears Titian-colored wigs and Renaissance-style clothes, she appears naked in BDSM costumes. Only at the end, however, cradled by a lullaby and the chimes of a music box, will my protagonist reveal herself in her dramatic and anguished bewilderment. Defeated by the events, finally, she, too, is a human being with a soul. “Macbeth Remix” was constructed following Shakespeare’s instructions – adds Liberovici – a concrete musicality with which the text abounds (torrential rains, lightning, thunderbolts, swords that break on the ground, nocturnal animals that announce dark omens…) accompanied by a re-orchestrated sound score, mixed with special computers and sophisticated hearing devices.