In “5”, a one-act play about love, the theatrical dimension comes across strongly, rendered sincere and satisfying in a succession of monologues and dialogues, music and lights that intertwine relentlessly amid the torments and sighs of the protagonists.
Two divas, people and “characters” meet the audience in an intense scent of aroma and passion.

However, amid the refined elegance of love, a precise “literary” and “poetic” style emerges almost naturally, restoring an intellectual and cultural dimension to the comedy and conveying the dramatic message to both the hearts and minds of the audience.

In this representation, there is deliberate “dreaming,” and thus in the dreamlike dialogue between Marilyn and Coco, references to the dramaturgy of “Life is a Dream” by Calderon de la Barca for Pasolini’s ‘Calderon’ and Rosaura’s Dream, leading to Shakespeare’s “A Midsummer Night’s Dream” and Pasolini’s poetic-cinematic work “What are the Clouds”.

On top of everything else, the question of questions: what is reality: dream, fiction, truth, or reality itself. Norma Jean, the protagonist, asks this question passionately and confusedly to the “mystical” storyteller Coco Chanel: in the age of ‘multiplicity’ and baroque intertwining lies the answer of the “transcendent” in the sacredness of love.

To reach the “truth” and beauty, one must remain in the human dimension with an exalted gaze toward the Highest.

The authors we have “smoothed” like the sea does with rocks suggest emotional balance: we will find a little truth in deception or good in evil or, again, reality in fiction.

The important thing is to rediscover the balance between “appearing” and “being,” the strong emotional discomfort that permeates Norma’s character and that dances continuously in the hands of her beloved Arthur so that “love triumphs, true love, the kind that does not betray.”