Introduced by an improbable radio voice, the viewer will see as many unlikely characters appear on the scene, all interpreted by the disruptive irony of Ippolita Baldini, not surprisingly a television personality known to the public as “the Lucy.” Ortolana, the devoted and “grieving” mother after seeing Clare and her other two daughters abandon their affluent lives and retire to seclusion.
She is opposed by Guelph, another mother, also belonging to the majores, the nobles of Assisi, who sees in Francis and Clare’s radical and revolutionary lifestyle a serious threat to caste privileges.
And there will also be room for “the Lucy.” Catapulted into this surreal contoured context to give her very personal vision of the saintly friend.
Clare of Assisi makes only a fleeting appearance. Young woman, made ironically human, grappling with the first difficulties that burden those who are called to be “guides” for others.
Clare the Saint, her miracles, her devotion, her faith, however, remain in the background, shrouded in the mystery of her vocation and the legends that surrounded her existence. But at the end of the day, it is she, with her example and teachings, who moves all the characters that come up in the play.
