The Roman actress return to theatre with her Stories di Claudia, 23 and 24 January at the Teatro Verdi of Florence
As a student she abandoned her studies in sociology at the eleventh exam to follow Carlo Verdone in the 1995 film Viaggi di nozze, where she became known to the general public with a timeless and unforgettably successful role. The perfect embodiment of a versatile actress, her films include Don’t move by Sergio Castellitto, The Unknown Woman by Giuseppe Tornatore, The Commander and the Stork by Soldini, Una famiglia perfetta and Tutta colpa di Freud by Paolo Genovese. She starred alongside Vincent Gallo in The Legend of Kaspar Hauser and was directed by Mel Gibson in The Passion of Christ.
Claudia Gerini, a Roman par excellence, could be labelled as “beautiful, good and talented” because she knows how to be ironic and self-deprecating. Her memorable “Lo famo strano” scene with Verdone is iconic. For this reason, perhaps, when - after over ten years of absence from the movies, countless film comedies and art films – she’s been offered a return to the theatre. She discarded the classics and opted for a new comedy that shows her as she is. In Storie di Claudia, she acts, dances and sings, sharing the stage with six dancers and just as many musicians. We will see her on 23 and 24 January at the Teatro Verdi in Florence. Then she returns to the cinema in the spring with a film by Luca Lucini with Margherita Buy.
What do you like and what scares you about the theatre?
In theatre, theatre itself scares me. For me, it’s a return after many years with an extremely challenging One Woman Show, where there is no possibility of doing “the scene” over again. What I like about it? For the actor to hear the audience’s applause is hugely satisfying.
Storie di Claudia is a light and witty show, with many fast scene changes. Is it an autobiography?
No, dear me, that would be boring. It contains anecdotes or memories that somehow refer to my true story but it’s mostly a succession of women of the last century, with many songs and no didactic intentions.
Although it’s because of the movies that you’ve become so popular, this isn’t your first time in theatre, is it?
Well yes, at the beginning of my career I did a lot of theatre, but those were very different experiences from this one. Here I have to deal with a real musical where I handling so many disciplines together.
Wasn’t it in a small theatre in Rome that Carlo Verdone discovered you?
In 1995, in a “little hole” behind the Colosseum. He came to see me in “Angelo e Beatrice” some really tough piece about armed struggle and for some reason it occurred to him to call me for Viaggi di nozze. From there my career as a film actress began.
Verdone has stayed good friends with you?
I would say definitely yes, maybe one of my best friends.
Who, among the people you’ve met during your career, has given you the best advice?
Well, I’m a very curious woman and I think I’ve taken something from everyone I’ve worked with. I hope more good than bad.
What are the points that guide your artistic choices right now?
The idea of finally having a clear picture of the career path ahead of me. Today I can afford it because when you’re very young you have a lot of performance anxiety, which I no longer have. I just want to do what I like well.
When will we have the pleasure of seeing you again on the big screen?
In the spring with the film by Luca Lucini, Nemiche per la pelle, where I’ll be working for the first time with Margherita Buy, someone I really get along well with. I care a lot about this movie.