P R E S S R E L E A S E
Antonio Audino, Il Sole 24 Ore:
[...] The performer conveys all the crime elements on a translucent dimension, almost surreal. She defines them in a gallery of phantasmal apparitions. Her voice seems to be suspended in a infinite wonder, like it's searching for the right tuning to play that story again. In fact, the threads of that story are too tied and knotted together to detect a single plot, to identify a single emotional vibration.
She defines in the same way also her movements: her right hand appearing in the dark and describing a childish gun with the thumb that shoots, or, even more, when she quotes Lisbet Palme's declarations, her face hidden by shadows and hair, expressing all the emotions of those words only with small and tense movements of her fingers – a true oscilloscope of the torment.
[...] A beautiful occasion, this show, to re-open that page of History full of erasures and cuts. A dark page even to the Italian memory that lived with shock that tragic event, dismissing it hastily to remain on our political intrigues, also without solution. The power of this show lays in the thrilling and even disturbing line of narration, and in the actress's presence who is able to evoke, alone, the many and various pieces of what – until today – we can archive as a perfect crime.
Laura Zangarini, Il Corriere della Sera:
[…] No one has an alibi, everyone has motive. Gemma continues: «True crime stories are the mirrors of neurosis and fobia of societies: we consider them as mere entertainment, but indeed they talk a lot about us. In “The Perfect Crime”, Jean Baudrillard writes about the “disappearance of Reality”, about the cancellation of the differences between the real world and the media-te world. The Hyper Reality to which we have constantly access – video, live video, streaming – is a simulacra of Reality. We lost any direct contact with events. Through the playground of the genre, we arrive to the revelation: what we are watching at is not a common story, but History. Reality. I believe that Theater – and by Theater I mean the place of the illusion, of the ephemeral and of imagination – is today the only place where it is still possible to make something real, but forgotten or lost, present.
Emanuela Ferrauto, Dramma.it:
Gul is the Swedish word for giallo: this is the genre brought on stage, this is the genre brought to talk about the assassination of Olof Palme, in 1986. Gemma Carbone plays all the characters, the dramaturgy is elaborated by Giancarlo De Cataldo and is based on the visceral interpretation of the actress. Many elements and objects are on stage, composing a real crime scene, some are used as concrete objects, other as symbols. […] Birch trees and snow are on stage for real, GUL, the yellow color, emerge allegorically and visually through scenography and costumes, through the blood stain that defines a corpse silhouette on stage.
[…] The audience's applause is long, the spectators are fascinated by the powerful acting of the young artist and appreciate the superb soundtrack, by a Swedish musician, that gives a touch of elegance to the performance.