Dopo il successo di A cento passi dal Duomo, Giulio Cavalli con i giornalisti e gli scrittori che hanno raccontato la Lombardia e il Nord dopo la maxi operazione Crimine-Infinito, ci illustra cosa è successo, cosa succede e cosa succederà nella Regione che tra riciclaggio e corruzione voleva essere la “locomotiva d’Italia” e si è risvegliata colonizzata dalla ‘ndrangheta. I nomi, gli atti giudiziari e le amicizie politiche delle “famiglie” sul territorio tornano in scena.
Dove eravamo rimasti:
Nella Stagione 2009/10 il coraggioso spettacolo A cento passi dal Duomo debutta a Milano al Teatro della Cooperativa. In un momento in cui, la mafia a Milano per i più non esisteva ancora, Cavalli ha raccontato cos’ è Milano per la mafia, partendo dall’omicidio Ambrosoli, passando da Sindona a Calvi, per arrivare alle porte dell’Expo. Uno spettacolo in fieri per sottolineare che Gomorra era già qui, anche se abbiamo continuato a raccontare quella degli altri. Un successo inaspettato, un coraggio che ha premiato per l’attenzione e l’interesse riscosso nel pubblico: solo nelle prime 7 repliche milanesi 1210 spettatori.
Ma se allora la mafia è già qui – e se del resto, forse, la mafia a Milano c’è sempre stata – cos’è successo in questi ultimi anni? Cos’è cambiato rispetto a pochi anni fa?
The investigative activities of this last period have now amply confirmed the rooting of the ‘ndrangheta in Lombardy and if the phenomenon has been significantly underestimated, and then certainly minimized by society and first and foremost by the political forces, the time has come to take stock of the situation. Again.
Yes, because what is happening in the industrious North, as mentioned, is certainly not news, but the risk of forgetting it is a dangerous certainty: what happened to the last twenty years of ‘ndrangheta?
The operation “Crimine-infinito” (July 2010) awakens us from the torpor that has lulled us for perhaps too long and with 300 arrests, the seizure of millions of euros, the involvement of political exponents marks a fundamental point in this story: the ‘ndrangheta-Lombardy duo is stronger than ever.
The task of telling us the salient points of this operation, of making a new mapping of the situation in Lombardy, but also of indicating the connections with politics and of highlighting the most insidious points of the great EXPO construction site, falls to Giulio Cavalli who, availing himself of the precious collaboration of various journalists – Gianni Barbacetto, Cesare Giuzzi, Davide Milosa, Mario Portanova, Biagio Simonetta, Giovanni Tizian and Giuseppe Gennari GIP of the Court of Milan – brings the data, the acts and the documents on stage.
Like, for example, a letter delivered to the head of the DDA of Milan Ilda Boccassini. A letter written by Antonino Belnome who, after having led the local ‘ndrangheta of Giussano (near Milan) and having climbed the hierarchies of the clans until he became a “godfather”, becomes a collaborator of justice and with his memoir “Memoirs of an ex-godfather” tells the dark shadow of the clans on Milan.
But, from the stage Cavalli also tells us some stories, like that of the justice witness Lea Garofalo, companion of the Calabrian criminal Carlo Cosco, killed near Monza in 2009 for having testified against the clans; or that of Loreno Tetti, owner of a sandwich kiosk in via Celoria in Milan, whose kiosk was completely burned because of his denunciation against the racket and, in particular, against the Flachi clan. Or the story of how the Campania mafia took over the video poker business, creating a system of gambling dens at the same time, up to the story of the trade unionist Nicola Padulano beaten to a pulp because he carried out his activity in favor of exploited workers, unaware however that he was an employee of a Milanese company managed by the ‘ndrangheta.
If from a scenic point of view, the narrative component certainly plays the leading role, we must not forget the music specially composed and performed live by the accordionist Guido Baldoni that accompanies Cavalli’s narration.
Holding the reins of all this work is the wise direction of Renato Sarti, personally committed and active in the staging of civil issues, accustomed to working on words and who, after the success of the directorial collaboration in “L’innocenza di Giulio. Andreotti non è stato assolto” has once again directed Cavalli’s show.
