Tag Archives: Stefania Licari

STEFANIA LICARI: I CAN MAKE YOU ITALIAN IN 55 MINUTES

★★½

Underbelly Boulevard

STEFANIA LICARI: I CAN MAKE YOU ITALIAN IN 55 MINUTES

Underbelly Boulevard

★★½

“Licari is warm, personable and holds the stage with a gentle confidence”

Italian stand-up comedian Stefania Licari has earned a reputation for sell out shows at the last two Edinburgh Festival Fringes, and her performance at Underbelly Boulevard Soho, London, also drew a healthy crowd. Across just under an hour, I Can Make You Italian in 55 minutes finds Licari setting herself the ambitious task of teaching the audience how to be “more Italian,” guiding us through a sequence of comic routines that perhaps inevitably vary in sharpness and impact. Nonetheless, written and performed by Licari, it’s a playful premise delivered with charm and generosity.

The audience is eased into the atmosphere before the show even begins, with Italian themed music and a red and green lighting state complementing the white of the main wash to evoke the sounds and colours of Italy. Licari emerges onto a sparse stage and leads us through a series of cultural contrasts, particularly around social habits and the quirks of male behaviour. Some observations land well such as the British affection for jacket potatoes versus the more refined Italian palate, or the gentle ribbing of British culinary missteps with pasta.

A ‘volunteer’ from the audience, who felt like a pre-organised stooge, is brought up as a kind of comic foil to be taught how to walk and gesture “like an Italian.” It’s an engaging idea, though one that never quite develops into a fully realised set piece.

Licari draws on her own lived experience as an expat medic turned comic throughout the performance, but the transitions between stories sometimes feel abrupt; a leap from personal anecdote to a riff on Cinderella, the transitions seem merely functional. Each piece does not really feed strongly enough into the next, and that leads to a disjointedness that might be addressed as the piece develops.

Themes of love, identity and family surface throughout, yet the sudden revelation about her mother’s cancer – delivered under stark white light – felt somewhat shoehorned into the structure rather than organically earned. The thread of female empowerment is also present throughout, but the narrative strands fail to interlock with enough clarity or momentum to give the show a truly satisfying arc.

Stefani Licari is warm, personable and holds the stage with a gentle confidence. As a performer, she is softer in tone than the bold, brash persona the premise implies, but the material doesn’t always support her, and the overall energy in this performance felt lower than it needed to be. With stronger dramaturgy and more deliberate shaping of the narrative, the show could gain more cohesion and drive. As it stands, the writing feels, as Italians might put it, a little too staccato.

 



STEFANIA LICARI: I CAN MAKE YOU ITALIAN IN 55 MINUTES

Underbelly Boulevard

Reviewed on 24th September 2026

by Robert West

 


 

 

 

 

 

STEFANIA LICARI

STEFANIA LICARI

STEFANIA LICARI

The Orchestra

The Orchestra
★★★

Omnibus Theatre

The Orchestra

The Orchestra

Omnibus Theatre

Reviewed – 31st January 2019

★★★

 

“Despite the linguistic drawbacks, director, Kristine Landon-Smith, produces an inspiring revival”

 

In the 1950s, France is attempting to mask the emotional and moral effects of the war and return to an appearance of normality. Jean Anouilh’s prolific output, rarely performed today, ranges from drama to farce. ‘The Orchestra’ leans towards what he categorised as his ‘black’ work (as opposed to ‘pink’, ‘brilliant’ or ‘grating’), contrasting with poignant wit the dramatic change the German Occupation had on the country. Here, Anouilh mirrors this with a small café ensemble whose polished performance juxtaposes the smouldering frustrations, rivalry and revelations which seep out between movements, the sugary lightness of the music enhancing the discord. The orchestra represents the female-dominated, close-knit society of the time. Stuck in a dull provincial spa town they repeat over-familiar tunes to an unappreciative audience. But they are also keen to unwrap each other’s secrets and the collaboration question.

Jeremy Sams’ translation brings to life the radiant facade and cutting jealously, even if the language is sometimes somewhat updated, but the setting of time and place in this play is essential to the characters’ behaviour. A culturally diverse cast with varied accents changes the ambience and, moreover, means that it is quite often hard to get past understanding the actual words and we lose the nuances of the script and personalities. Amanda Osbourne as Madame Hortense controls the group with strong authority (if not the voluptuous shape described by Anouilh) as it writhes with uncomfortable truths. The violin ‘desk partners’ reveal their personal domestic realities and there is amusing chitchat between the flautist and the viola player. Even the cellist admits deliberately playing out of tune to German audiences. Pedro Casarin as Monsieur Leon, the pianist, gives the most dramatic about-face but it is the fighting over him by Madame Hortense and Suzanne, the cellist, which culminates in the darkest moment…as the band plays on.

The breezy melodies (Felix Cross) camouflage the searing tensions but the quality of the soundtrack doesn’t do justice to the energy and expression of recorded live music. Learning to mime playing a stringed instrument is a highly commendable feat and Sarah Waddell (the violinist, Pamela), in particular, makes a convincing impression. Despite the linguistic drawbacks, director, Kristine Landon-Smith, produces an inspiring revival of a writer and genre which has long been neglected and captures the forced smile of a period desperate to gloss over the recent past.

 

Reviewed by Joanna Hetherington

Photography by Jacob Malinski

 

The Orchestra

Omnibus Theatre until 17th February

 

Last ten shows reviewed at this venue:
Mortgage | ★★★★ | March 2018
My Dad the Magician | ★★★★ | March 2018
The North! The North! | ★★★ | March 2018
Gauhar Jaan – The Datia Incident | ★★★★ | April 2018
The Yellow Wallpaper | ★★★★ | June 2018
Blood Wedding | ★★★ | September 2018
Quietly | ★★★ | October 2018
To Have to Shoot Irishmen | ★★★★ | October 2018
The Selfish Giant | ★★★★ | December 2018
Hearing Things | ★★★★ | January 2019

 

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