Davide Del Grosso was born in Naples in 1988 and shortly thereafter moved to Milan. After the high school, in parallel he attended the university (Faculty of Literature and Philosophy) and the theater school (Quelli di Grock, Milan), in which he graduates in 2012. When he was 22 years old he joined Comteatro, a theater company and a laboratory born in 1982. Here he started working as an actor, playwright and teacher. For Comteatro he is on stage with: Three sisters by Anton Čechov; Pompeo (taken from the work of the Italian cartoonist Andrea Pazienza); Rossowilde, taken from Oscar Wilde’s The Picture of Dorian Gray. In these two works he’s also playwright. In 2017 he starts working to Il grande male, con tutto il bene (The great evil, with all the good) the first production in Comteatro in which he’s playwright, director and actor. In 2015 he writes for Punto Teatro Studio, a theater company in Milan, Sotto i girasoli (Under the Sunflowers), a play in wich he’s also actor. This work wins a special mention at the Young Station Festival of Montemurlo and the first prize at the Urgenze Festival 2017, in Rome. In parallel with the theather activity he continues his research in poetry, through his blog “The catcher in the rye”.
The Great Evil, with all the good
The Great Evil, with all the good is three acts play that investigates a human possibility: to transform pain into beauty. To do this, the work enlighten one of the bulkiest pains of our times, maybe the one which is considered our scarier pain: cancer. A man, Martini, is consciously living his last two months; his mate, Livia, shares with him the final part of the path; a doctor, an oncologist, assists the couple during the final phases of the illness. Three people who are facing a situation that is inevitable and consequently tragic, are the vehicle by which the play develops its themes. Misunderstandings, doubts and questions, dejections and love, memories, desires. All the relational reality of these three people starts to hack the illness and dip into a starting situation that seemed shattering. After this, the play opens to a more complex vision about the potentiality of the encounter and the relation between love and pain.
