Curio Theatre Company presents John Bellomo’s Sacco & Vanzetti: A Tragedia Dell’Arte

In April 1920, Nicola Sacco and Bartolomeo Vanzetti were arrested for two murders during a robbery at a shoe manufacturer in Braintree, Massachusetts. By the time they were executed in April 1927, they had become a cause célèbres as immigrants wrongfully prosecuted due to prejudice, not evidence.

Dropping the mask

Here, the story is told with a lively animated backdrop from projection designer Damien Figueras and masks by Brendon Gawel. There are puppets. It’s all very exaggerated and funny, but then Bartolomeo Vanzetti (Renato Arcuri) is alone on stage, and he removes his mask.

In this moment, we see Vanzetti recite one of the famous letters of Sacco and Vanzetti. Arcuri gives a warm, compelling recitation of Vanzetti’s text. Then he puts the mask back on, and there’s a delirious courtroom scene. Then it’s Sacco’s turn to remove his mask and recite another of the letters, this time a message to his son. Then Sacco (played by Bellomo, who also directs) puts his mask back on and the story continues. This pattern repeats throughout the 90-minute performance, balancing the loud absurdist trial with moments when, literally, the mask drops.

More than a fable

Ninety years on, comparisons to modern ICE activities make this more than a fable. It would be nice to think things like Sacco and Vanzetti’s lack of due process don’t happen anymore, but even with a 16th-century clown approach, it doesn’t feel ancient. Some of the jokes do; while the visual gags are fun, the clown patter is hit-or-miss. Paul Kuhn is remarkable as Police Chief Michael E. Stewart and Judge Thayer, but at times Sacco and Vanzetti come off as an Italian Abbott and Costello, and I don’t mean that in a good way.

But overall, the production is well done. Bellomo (a Temple and UArts alum and associate professor of theater at West Chester University) understands the pacing of his script, and his direction keeps a nice tension between the foolish and the impending darkness. The set design by Kuhn is immersive in the small black-box space, starting with a lobby covered in the letters of Sacco and Vanzetti on one side and anti-immigrant political cartoons of the time on the opposing wall. The set is a large projection screen, with furniture carried on by the actors, including an impressive judge’s bench.

The ensemble cast is very good in all of their roles. I’d even compliment the puppet jury, guided by assistant puppet director Ren Bailey.

Same story, different century

It’s Arcuri’s performance that emerges as the heart of the story. Every time he pulls off his big fuzzy mustache and floppy hat, runs his hand through his thinning hair, then looks up and recites another letter, the room gets quieter. The words cut through the carnival atmosphere of the sensational trial, and the parallels to modern rule are unmistakable. It’s like Vanzetti has returned. And so have the problems we thought were behind us.

The theater space is in the basement. Elevator access can be arranged in advance by emailing [email protected] or calling (215) 921-8243.