Goldoni called it in his "Mémoires" the firt modern comedy of Italy. Moreover, the success of the operetta theater, brought forth the genius of the author of "The Prince" was already wide with his first staged. And certainly, without "The Mandrake", the theatrical event of our country would have been different. It is not a casual work. Machiavelli, in fact, had been, previously measured in similar experiences: the translation of Terence. Not sufficient however, to make him a "serial" of comedy. The masterful management of the intrigues and plots, the game of misunderstanding and of hilarity ("ilarità"), but also ostentatious vulgarity, is the authentic and absolute protagonist of "The Mandrake". The approach is prone to the strategy of domination, pervaded the values of "The Prince". A "divertissement" not without tricks, disguises and deception. A thin directed precisely which refers to a kind of political realism avant lettre, applied to common life. The plot and spirit that characterize the moments and the contents of the work are illuminating. Emerge a vis the original comic, almost "picaresque", though rich in an extraordinary ability to grasp vices and virtues, ambiguity and pettiness of the human soul. It's enough to make "The Mandrake" a masterpiece, not only of the sixteenth century Italian theater. Repeated scanning of emotions, fictions and lies in the language used is an exaltation without equal. The vernacular gives the twists and pitfalls loving a means of communication truly modern. On the topic of "The Mandrake" have ventured into many. From the Florence of the sixteenth century, ungrateful to the Secretary, as with Dante, the interpretation "Neapolitan" Toto', directed by Lattuada, to arrive finally to Broadway stage: the story of lewd Messer Nicias, Callimacus and Luvrezia continues to the present day, to fascinate.
Casalino Pierluigi, 3th October, 2013.