Filumena by Eduardo De Filippo - Almeida Theatre

FILUMENA
by Eduardo de Filippo
a new English version by Tanya Ronder
RESOURCE PACK

Introduction
photo: Hugh Palmer
“True art is not a photograph of
reality, a copy of reality - that is
banal, useless - rather true art is
born when reality is reinvented,
when it is turned on its head and
makes us understand how stupid it
is to grant imnportance to certain
rules and models, models that are
at certain moments taken to be
elevated values of the spirit, when
in all truth they are empty, cruel
impositions.
In short, Filumena is a story that
overturns the logic of conventioal
morality.”
Dario Fo, 2009
Welcome to the Almeida Theatre’s
production of Filumena.
Filumena
by Eduardo De Filippo
a new English version by Tanya Ronder
Thu 15 Mar 2012 - Sat 12 May 2012
In the balmy heat of late ’40s Naples, Filumena Marturano
lies on her deathbed waiting to marry Domenico Soriano,
the man who has kept her as his mistress for twenty-five
years.
But no sooner has the priest completed the ceremony, than
Filumena makes a miraculous recovery. As he reels in
shock, Domenico discovers that this brilliant, iron-willed
woman has a few more surprises for him.
Eduardo De Filippo’s joyous story is brought to life in a
production that embodies the very scent of its Neapolitan
setting.
Eduardo De Filippo is one of Italy’s most prolific and
respected playwrights of the 20th Century, so highly
regarded in his native land that shortly before his death in
the 1980s he was made a life senator of the Italian Republic.
Writer Tanya Ronder’s last adaptation for the Almeida was
2005’s production of Blood Wedding, more recently she
created an acclaimed stage play of DBC Pierre’s Vernon God
Little.
Exploring themes such as family betrayal, divided loyalty
and social status Filumena is an engaging and provocative
piece of theatre.
We look forward to welcoming you to the Almeida Theatre
and hope that Filumena will entertain, challenge and inspire
you and your students to experience further the power of
live theatre.
Charlie Payne, Boris Witzenfeld
Natalie Mitchell, Sarah Tarry, EJ Trivett
Almeida Projects
For more information about Almeida Projects and our recent work please visit
almeida.co.uk/education
1 Resource Pack: Filumena

HOW TO USE THIS RESOURCE PACK
This Almeida Projects Resource Pack aims to
provide an insight into our process of taking the
production from research stage to performance.
We hope you will use it to help you in your own
investigations into the play both before and
after your visit to the Almeida Theatre.
The pack is divided into four sections: the first
contains detailed information on the plot and
characters to refresh your memory of the play in
the classroom. The second contains
production-specific articles on the creative
process, with exclusive input from the artistic
team. The third section provides context by
covering background material and themes from
the play. The final section contains suggestions
of practical exercises for drama teachers to use,
to enable students to explore the play in further
depth, in the classroom and beyond.
LEARNING AREAS
This Resource Pack is not curriculum-specific
but may be of particular use in the following
learning areas:
• Drama or Theatre Studies
• Italian
This Resource Pack intends to supplement
the academic study of by providing contextspecific
information about the Almeida
Theatre’s production of the play, covering the
following areas:
• Staging and world of the play
• Production-specific research and context
• Rehearsal process
This pack will also contains the exercises
included in Almeida Projects’ Introductory
Workshop for Filumena for independent use
in the classroom and beyond.
Contents
Production Credits 3
Plot Summary 4
Characters 9
Design 13
Interview with Designer 14
Michael Attenborough 18
Tanya Ronder 20
In the Rehearsal Room 23
Neapolitan Dialect 28
Eduardo de Filippo 30
Practical Exercises 33
Script Extracts 34
Almeida Projects 39
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2

Production Credits
ALMEIDA THEATRE
Artistic Director
Executive Director
Artistic Associate
ALMEIDA PROJECTS
Director of Projects
Director of Projects
(maternity cover)
Projects Co-ordinator
Projects Administrator
Projects Admin
Assistant
Filumena
CAST
Domenico
Alfredo
Filumena
Rosalia
Waiter / Nocella
Diana
Lucia / Teresina
Umberto
Riccardo
Michele
CREATIVE TEAM
Director
Design
Lighting
Sound
Fight Director
Movement Director
Casting
Assistant Director
Italian Consultant
PRODUCTION TEAM
Michael Attenborough Production Manager
Julia Potts
Company Stage
Jenny Worton Manager
Deputy Stage
Manager
Samantha Lane Assistant Stage
EJ Trivett
Manager
Costume Supervisor
Natalie Mitchell Wardrobe Supervisor
Charlie Payne Wardrobe Deputy
Sarah Tarry
Wig and Hair Mistress
Chief Technician
Lighting Technician
Sound Technician
Theatre Technician
Production Carpenter
Set built by
and painted by
Stage Management
Work Placement
Rehearsal and
Production photos
Clive Wood
Geoffrey Freshwater
Samantha Spiro
Sheila Reid
Edmund Wiseman
Emily Plumtree
Victoria Lloyd
Brodie Ross
Luke Norris
Richard Riddell
Michael Attenborough
Robert Jones
Tim Mitchell
John Leonard
Terry King
Imogen Knight
Julia Horan
Jane Fallowfield
Manuela Ruggiero
James Crout
Tamsin Palmer
Pin Dix
Annique Reynolds
Deborah Andrews
Eleanor Dolan
Rachel Writer
Katie Dear
Jason Wescombe
Robin Fisher
Howard Wood
Adriano Agostino
Gruff Carro
Souvenir
Anna Sheard
Hugo Glendinning
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Samantha Spiro and Clive wood
Photo: Hugo Glendinning
Plot Summary
Act One
Late Spring, 1946. Domenico and Filumena stand in an impasse, with Alfredo and Rosalia beside.
Domenico is raging against Filumena, in the courtyard of their home in Naples. After 25 years of
them living together, she has tricked him into marrying him, by convincing him that she was on her
deathbed. This was a ruse designed to get him to consent, finally, to marriage, as Filumena suspects
him of having an affair with a younger woman. Domenico refers to Filumena’s past, as a prostitute,
and says she is still the same; she retorts that he is just as bad – and all the customers, the rich
men, are all the same. Domenico threatens to kill everyone who played a part in this conspiracy, but
they deny knowing that Filumena was planning anything.
Domenico accuses Filumena of being money-grabbing, but Filumena denies this, accusing
Domenico of only understanding money, nothing else. She never felt appreciated in all the 25 years
they were together, as there was no security as they were not married. Domenico remarks on
Filumena’s complete lack of emotional response over the years – he never sees her cry, eat or sleep.
Filumena believes a woman only cries for the good things she has known – implying that she has not
had any of these in Domenico’s house.
Filumena confronts Domenico about his affair – the younger woman is 22 years old to Domenico’s
52, and he has brought her into the house under Filumena’s nose, disguised as a nurse – although
Filumena saw through this. Domenico admits that he has fallen in love with her, and again accuses
Filumena of being after his money; Filumena wonders that men never understand anything. There is
something else she is after.
Filumena tells them she has three children. Domenico and Alfredo are stunned by this revelation, but
Rosalia is not – she already knew this. Filumena tells them the father of these children are men like
Domenico – not his; the oldest is 26. The children do not know that Filumena is their mother, but
she does see them. They live on Domenico’s money – Filumena has been selling Domenico’s
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Plot Summary
belongings to finance this, although the sons do not know the money comes from Filumena. Rosalia
tells Domenico about the occupations of the sons and their whereabouts – all nearby. Rosalia says
that Filumena has been a good mother, finding them safe places to stay and making sure they had
what they needed growing up. Domenico is angry that she has done this with his money, although
Rosalia tells him he would otherwise have wasted it. She cannot understand how he never noticed.
Filumena admits that the only reason she stayed with Domenico so long is because of her sons.
Filumena recalls the history of her relationship with Domenico – how he refused to marry her, as he
was already married; during this time she lived in a flat in San Putito. Then he found more excuses
not to do so after his wife died, although Filumena eventually moved into Domenico’s house. Now, of
course, they are married, and his house is as much hers as his. Domenico laughs at her, and
Filumena warns him not to.
A waiter enters, bringing in a hamper, containing a romantic meal for two – intended for Domenico
and his young mistress. All has not gone to plan for Domenico and he angrily dismisses the waitress.
Diana enters – having let herself in with her own key; she is making herself at home, unaware of the
disaster she has walked into as she changes into her nurse’s uniform. Filumena exposes her and
orders Diana to change out of the fake nurse’s uniform; she tells Diana that she and Domenico are
now married. Diana is mortified. Filumena forces her to change in front of everyone, and abuses
Diana, comparing her to a prostitute. Diana leaves.
Filumena tells Domenico she intends to bring her sons into his house – they have been illegitimate
long enough and now can take her married name. Domenico is furious and threatens to go to his
lawyer. But if the law can’t deal with it, he threatens to kill her – he will show her that she was wrong
to trick him. Filumena is not intimidated and she and Rosalie prepare the table to eat the feast
intended for Domenico and his lover. Filumena sings, and Domenico storms out with Alfredo
following.
Act 2
The following morning. Lucia, a maid, is washing the floor as Alfredo enters. Alfredo tells Lucia that
he is very tired, having been up all night with Domenico. It is a frustrating job, looking after
Domenico, but Alfredo wouldn’t have it any other way, nonetheless. Alfredo needs coffee – but Lucia
cannot make it, and Rosalia is out. Lucia reveals that Rosalia has left the house to deliver three
urgent letters. Alfredo needs coffee almost as urgently though, so he will have Domenico’s – he does
not think he will be back this morning.
Rosalia enters, pretending not to see Alfredo, but he stops her and asks about the letters. She
remains secretive and instead gives a history of her relationship with Filumena and her sons. Rosalia
leaves as Lucia returns with coffee for Alfredo.
Domenico enters and demands coffee too. He tells Alfredo that he has seen his lawyer who should be
coming today. Domenico intends to get Filumena put in prison; he’s prepared to take it to the
supreme court. Domenico and Alfredo reminisce about their past together – his female conquests
and favourite horse; a time when Domenico travelled around and felt he could do anything.
Alfredo tells Domenico about the secretive behaviour of the women and the supposed letter delivery.
Filumena enters but ignores the men; she orders Lucia to make up two spare beds – for her sons.
She turns to Domenico to tell them they’ll be moving in (one is already married and does not need a
bed), and that they’ll eventually be taking his family name. Domenico is adamant that he will not
allow them to stay in his house. Filumena leaves, as Lucia enters to announce the arrival of Diana
who is at the door with a lawyer; they are both seeming very nervous and won’t enter. Domenico
fetches them in himself.
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Resource Pack: Filumena

Set model box
Photo:
Diana enters with Nocella, the lawyer. Diana is fearful of
encountering Filumena again, but Domenico assures her
that she is under his protection; though she is not
reassured by this. Diana and Nocella live in the same
building and they have discussed Domenico’s position.
Domenico ushers them into his study to talk further.
Lucia enters with Umberto and then Riccardo,
Filumena’s sons. Riccardo starts chatting up Lucia; they
flirt. Umberto is unfazed by the woman and was
engrossed in some writing. The third son, Michele,
enters in his plumber’s uniform. It becomes clear the
three men do not know who each other is. They don’t
instantly get on well and come near to a fight, with much
banter. They are interrupted as Filumena enters, chiding
them for their uncouth behaviour in her house.
As Filumena tentatively begins to tell the three men why
she has summoned them, Domenico bursts in from the
study. He has clearly heard what he wanted from Nocella
and attempts to dismiss the sons. Filumena stops him,
but notices that Domenico may have news from the
lawyer so she dismisses the sons to speak to Domenico
in private. Filumena confronts Nocella, who is cowed by
her interrogation. Nocella begins to outline the legal case
against Filumena: there is a case that Domenico only
married her because he thought she was dying, which, as
this was false, could be seen as an extortion and will
result in the marriage being annulled. Even the priest
would agree. Filumena questions the justice of this. She
refuses the lawyer’s help and admits to having tricked
Domenico into marriage.
Plot Summary
There isn’t time to think, with
girls. The streets are full of
beautiful women, it’s a tough
choice. What I tend to do is
just keep changing them until,
hopefully, one day, I’ll find the
right one.
Umberto
Filumena summons the sons back into the courtyard and
reveals that she is their mother. She speaks about her
childhood in the slums and move into prostitution, and
how she met Domenico at the brothel. She has made her
sons, her own family, a priority; she confesses to having
robbed Domenico to secure their lives.
Michele is moved; Umberto wants to express his feelings
in writing; Riccardo storms out. Michele and Umberto
then leave together, with good feeling. Filumena asks the
lawyer to leave her and Domenico together for a
moment; he acquiesces. Alone together, Filumena tells
Domenico she will admit to everything: he is free.
Domenico questions why Filumena did not just ask for
money from him – why did she put the sons through the
trauma unnecessarily. Then Filumena drops the
bombshell: one of the sons is actually his. She swears it
to be the truth. Domenico demands to know which one,
but Filumena will not tell him: they must all be equal.
Domenico cannot believe it: he thinks it is another
excuse she is using to tie him down. But she is adamant
it is the truth. She summons out the lawyer and Diana –
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Plot Summary
The set model box
she will not harm her. Before she leaves the house, seemingly for good, she swears Domenico not to
reveal what she has just told him. She tears a corner off a 100 Lire note, giving it to Domenico with
the words ‘you do not buy children’.
Act 3
Ten months later. The courtyard is full of bouquets of flowers: it is Domenico’s wedding day, but not
yet clear to whom he is marrying. Rosalia and Domenico enter; Rosalia is dressed for a celebration
and Domenico has apparently mellowed, becoming more gentle in demeanour. Rosalia tells Domenico
she has run an errand for Filumena, who has ordered 50 candles to be lit at a shrine at the same time
as Domenico’s wedding at 6 o’clock that night. Rosalia upholds the mystery, saying she always knew
that they would marry in the end.
The three sons noisily spill into the courtyard and greet Domenico respectfully. Domenico invites them
to sit down, and the boys behave shyly. Now, it is revealed that Domenico is marrying Filumena. He
tells the boys that from tomorrow, he wants them to carry his family name, The Soriano Boys. The
boys debate whether they should accept this – they are not sure they want to call him ‘father’ just yet.
Domenico hopes they will get used to the idea over time.
Domenico talks to the sons and tries to get to know them better, asking them questions about their
nature, particularly towards women. He sees that Umberto is more reflective about the opposite sex,
whereas Riccardo is an outright womaniser and Michele is too, at heart, though more subtle with his
desire. Domenico reflects on his youth, serenading women. He encourages the men to sing, and they
do – albeit badly.
Filumena enters, with Teresina the dressmaker, and Rosalia. The sons compliment and congratulate
their mother. Filumena accuses Teresina of stealing material from her dress for her own daughter,
which she in turn denies. Domenico watches the exchange, and, as Teresina leaves, asks for a moment
with Filumena.
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Domenico asks Filumena if she is really happy to be
getting married – he needs to know the truth and put
his mind at ease. He reveals that it was he who asked
Filumena to marry him. Her happiness will make him
happy too – and he feels he needs to know why he is
getting married. Not just because one of the sons is
his, but also because he loves her. They have spent
their whole lives together and yet she keeps certain
things secret – her emotions too. He asks again to
know which of the three sons is his, but she refuses to
tell him. Becoming softer, she confesses that she loves
him with all her heart, and that she must not tell him
which son is his, for the sons’ sake as well as his: it
would set them against each other. She says that he can
still reconsider getting married.
As the sons and Rosalia enter, Domenico agrees that
they will not marry and instead go their separate ways.
He prepares to speak to the boys but when all three of
them call him ‘Dad’, he cannot continue. He will marry
Filumena, and they will be a family. They go into the
study for the wedding.
Later, the same evening, after the wedding, the party
emerges from the study. Domenico summons Alfredo
to bring wine and the household members all drink to
the bride’s health. Domenico reflects that ‘children are
children are children’ and that they are all equal to him,
there will never be any favourites. He drinks to the
health of his three sons. Dominco invites the boys to
dinner the following day before all three leave the
house, bidding the newly married couple goodnight.
With the sons gone, Filumena takes off her shoes.
Domenico looks up at the sky, remarking on the
beautiful evening. Suddenly, Filumena lets out a cry and
begins to weep. Domenico asks what is wrong with her.
Filumena is amazed that she is crying – she has never
been able to before. Domenico tells her she can stay
still and rest now, after years of running. She has come
good in the end, knowing that all her children are equal.
It is a peaceful ending.
Samantha Spiro
Photo: Hugo Glendinning
Who are you to stop me from
telling my children they have a
mother The law allows me
that, doesn’t it, Lawyer I am
Filumena Marturano and you
three are my sons. I don’t need
to say much about myself, I’m
sure. You’ll have heard people
talk and most of it will be true.
Plot Summary
Filumena
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Characters
FILUMENA MARTURANO
45 years old. Filumena is a former prostitute and has
been mistress of Domenico for 25 years, yet he has
never married her. She fakes her own deathbed
scene to convince him to marry her, as she has
discovered he is having an affair with the young
Diana. She is charming and attractive, but equally
headstrong and forthright. She has strong moral
values, a commitment to moral judgment and values
love and commitment over money. She is not afraid
to say just what she thinks. For the first four years of
their relationship, she lived in a flat in the slum area
of Naples. Some time after Domenico’s first wife
died, she moved into his house. She has three sons,
of undisclosed parentage – although one is revealed
to be Domenico’s; she has supported their
upbringing financially, if from a distance. She
believes in absolute equality in loving her children.
See You don’t remember, which says it all. When you got back, I
said nothing. Told you my life was exactly the same, just the same
Filumena
If that’s a voice, then dogs can sing.
Let’s hear you.
Domenico
DOMENICO SORIANO
52 years old. He is a wealthy businessman and an
influential name in Naples. He is the son of one of
Naples’ most famous pastry-makers – a very
respected profession in Italian society. Much of
Domenico’s past is a mystery and indeed it is not
clear how Domenico makes his money; we know he
has toured around Europe with a racehorse at one
time and was quite the Casanova in his youth. We
sense he has never had to worry about money. He
met Filumena when she was working as a prostitute
and was so drawn to her that he kept her as his
mistress for many years, putting her up in a flat. He
was previously married, not entirely happily, and was
reluctant to marry again. He has the suspicion of the
wealthy man that everyone is trying to get a share of
his money, and is wary of attachments. He is in love,
or lust, with the young Diana. He is feisty and as
headstrong as Filumena. By the end of the play, he
has mellowed – and softened by the thought of
himself as father, finally fulfilling the ultimate role of
patriarch..
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ALFREDO AMOROSO
60 years old. Alfredo is Domenico’s friend-cumservant
and full-time confidante, and he has been
since both of them were young men. He sees his
role as looking after his master as a frustrating but
necessary task – he is inferior to his master but they
are rather informal in their status. Alfredo has
travelled with Domenico everywhere, and abetted
many of his conquests with women. Alfredo has
fond memories of Domenico’s racehorse, Silver.
When Domenico sold it, he was heartbroken. We
sense that Alfredo may have put much of his life on
hold in exchange for his loyalty to Domenico.
Then I suppose I won’t drink it. I’ll have to go and get one from the
café.
Alfredo
Characters
ROSALIA SOLIMENE
75 years old. She is Filumena’s maid and confidante,
loyal to her mistress to the end. She gives a brief
biography of herself as being born in 1870 to a
washerwoman mother and blacksmith father; she
was married to a coffin-maker named Vicenzi when
she was 17 and has three children, though her
husband died before any of them were born. She
went to live in the slums with her children. Her sons
played with Filumena’s sons as children, and that is
how they met. After her sons left, Rosalia went to
work with Filumena – who she sees as having saved
her from a life of begging and poverty.
Three baby boys, in the same hour. Vicenzo was at the tap on the corner.
The midwife who went to tell him about the triplets, found him face-down
in the bucket.
Rosalia
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Characters
UMBERTO
23 years old. Umberto is Filumena’s youngest son. He is an
intense young man, a student and a writer. He is an office
clerk at present but also writes for the newspaper in the
evening. He aspires to be a published writer of short fiction
and poetry. He is quieter and more emotional than his
brothers, and rather the intellectual of the family – more
interested in books than women. He is something of a
dreamer, often out of odds with the brashness of his
surroundings.
RICCARDO
25 years old. Riccardo is the second oldest son. He is well
dressed and a shopkeeper by trade, running a tailor’s shop,
specialising shirts for men and women. Riccardo is
handsome, but hot-blooded and flirtatious, his eyes
constantly being turned by attractive women – and he is not
shy about telling them so. He is boisterous and laddish – he
has a lot of confidence and is not afraid of confrontation, in
fact his favourite mode of conversation relies on
argumentative banter.
MICHELE
26 years old. Michele is the oldest of Filumena’s sons.
Michele is a plumber by trade. He has a wife and four
children, the oldest of which is five. He married very young
and is loyal to his wife. He runs his own business, but is not
able to grow it without more capital. He is a pragmatic and
practical character, also big and strong in stature.
Bye, everyone! That’s why I was chatty earlier. When important
things are about to happen, I talk too much.
Michele
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DIANA
27 years old. She is Domenico’s mistress, who disguises herself as
a nurse when she is in their house – though she is also a nurse by
profession. She is quite naïve and whilst she believes she can
handle Filumena’s wrath, she is also worried about encountering
her in a temper. She is a timid girl, and rather naïve.
LUCIA
23 years old. Lucia is Domenico’s housemaid, junior in rank to
Rosalia. She is quite a feisty young girl, and stands her ground. Her
loyalties are probably more on Filumena’s side than Domenico’s.
Characters
I’ve just finished! My life-blood is in that floor and you come in
with your great big feet.
Lucia
NOCELLA
Nocella is Domenico’s lawyer. He speaks in the confounding jargon
of the legal profession. He is rather a bumbling character, meek and
pliable. He avoids confrontation and does as he is told without
fuss. He quivers in the presence of forceful people like Domenico
and Filumena..
TERESINA
Teresina is a dressmaker who has made Filumena’s dresses for
years, and who also made her wedding dress. She has a daughter.
Filumena accuses her of stealing fabric that she has bought for her
own uses. Teresina swears she is an honest tradeswoman with a
conscience and loyal to her customers, and would only ever take
material if there was spare going to waste…
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Design
Almeida Theatre - empty stage
Photo: Lara Platman
A BRIEF HISTORY:
The Almeida Theatre
seats 325 people, and
re-opened in 2003 after
extensive
refurbishment. The
building dates back to
1837, and was
originally the Islington
Scientific and Literary
Institution. During the
war it was used as a
Salvation Army Citadel,
and was later a toy
factory, before it was
converted into a theatre
in the late 1970s.
Design is one of the most thrilling aspects of theatre
craft. The look of a show helps to set mood,
atmosphere, time and place. Design elements for
any production include set, lighting, sound and
music.
At the Almeida Theatre the set design is the first and last thing the
audience sees. As soon as the audience enters they can see the set
and this, together with any sound effects, or music, will begin to
determine how they will experience the production. This initial
impression helps to set the tone for the story to come.
The designer, therefore, has to consider what impression he wants
to make on the audience before the play begins. The designer will
look for clues in the play text and will liaise with the director and
the playwright about these.
There are also practical considerations for the designer, such as
how big the stage is; what kind of flexibility is required in terms of
entrances and exits; and whether the play is set in a specific time
period. The designer often has to be very creative designing a set
which calls for several different locations.
Designing for the Almeida Theatre
The Almeida Theatre was not purpose-built as a theatre so does
not have the specialised architectural features which typify most
purpose-built performance venues: a flytower, orchestra pit, wings,
offstage area (indeed our ‘back stage’ is actually ‘sub-stage’ in the
excavated basement directly below the stage floor). This means
that our designers and production teams have to come up with
ingenious solutions to create innovative sets in our ‘found space’.
The building is famous for its large curved brick wall at the back of
the stage. This feature of the building is used as part of the set
design for many of the Almeida’s productions. Even when the
actual wall is not visible in the set, the brickwork is often echoed as
a feature in the design.
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Photo of set model box
The set for Filumena is designed by Robert Jones.
At the start of rehearsals, designer Robert Jones spoke to us about his design for Filumena, explaining
his inspiration behind the look and feel he has created for the production. In creating a design, the
designer and director will have lengthy discussions about what they want the set to look like and how
it will compliment the director’s vision for the production.
AT: Was it clear from the beginning that you wanted to have a naturalistic setting
RJ: Not necessarily, I never start a production thinking ‘it’s going to be like this’ because you need to
arrive at an idea in consultation with the director; a director and designer’s relationship is incredibly
important, without sounding cheesy it’s like a marriage. I’ve worked with Mike a lot. When you have a
play in mind – it’s like casting an actor. It’s a really important relationship.
In terms of Filumena, the naturalistic setting was something we decided on quite quickly because it is
a completely naturalistic piece in terms of where it is set.
AT: How much of the design for Filumena was taken from the script How many cues were there in
the script
RJ: One of the big things we decided to do, instead of setting it in the room, we set it in the garden/
courtyard. It is still confined but it’s not in a room which gives you more freedom in terms of lighting
changes, atmosphere, the whole mood of it feels far more Italian. We didn’t decide to do it
naturalistic right from the start.
Interview with Designer
What the audience never see in the end product is what goes on before and what we talk about
before. We came to this quite quickly as we both had a feeling of what we wanted to do. Because, you
know, you can work on a production for months and months and month talking about ideas, the play,
the style. This is different and you can explore different ideas, you can adapt and tailor it.
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Interview with Designer
AT: That links to my next question which is
RJ: Well there weren’t originally because it was written
in a room, so Mike and I said that we would just go
through the script ..there were references of; they go
into the hall, they go into the study, they go into the
kitchen, but that is only from the room that they’re in.
So if that room is a courtyard, they still go off from that
space. So what we then did was we came up with a
very rough design, showed it to Tania and then adapted
her translation to the work we had done. It’s that
classic case of director, designer and script all coming
together which is fantastic.
AT: Do you think that changed anything in the feel of
the production
RJ: I think it brought a huge amount to it. It’s a brilliant
script and a brilliant play but I think it brings it a whole
other dimension.
AT: What is that dimension
RJ: Well for me, let’s start with the almeida as a spaceit’s
a big room. So it’s that sense of rather the audience
looking at actors in a room, we are all in the same
space, that’s what it brings to it …because the almeida
is a wrap around we are all shown, so for me...looking
at the room you know the fourth wall is in it…it brings
a time scale to it as well because you can show the
time of day with the lights. If you’re in a room unless
there’s a window you don’t necessarily know unless the
lights are on that it’s night time. When you’re outside
you can get a sense of morning/sun set don’t you
AT: Yes, that makes sense. I suppose this is going back
a bit but how collaborative is it between you and Mike
and potentially Tanya in terms of design
RJ: Are you asking that because you don’t know or
because the audience wouldn’t know that
AT: I suppose the audience wouldn’t know.
RJ: It’s that classic thing,
photos of set model box
15 Resource Pack: Filumena

AT: Can you describe what you want the audience to feel when they walk into the auditorium
RJ: I want them to be Naples, in the city, in Italy and I want them to be completely immersed in that
Italian culture. I want to walk in and think ‘I’ve arrived’ so immediately they accept that world, they are
in there and then they can meet the people in that world and be completely comfortable.
AT: It’s quite detailed, the set isn’t it
RJ: Yeah and it needs to feel like you’re in the same world, sitting in that courtyard because they are
such real characters the detail’s important.
AT: Did I hear someone saying you are using real stone floor
RJ: Yes! Absolutely. It is a real floor because it sounds good and if you’re trying to make something
look real but it sounds wrong it will ruin the artifice. It needs the right texture, it’s a real floor and it
will have flowers around the edge. Not real flowers!
AT:That would be expensive! You have answered this a bit but what is it like designing for the Almeida
as a space How does it differ to other theatres
RJ: it’s a hard space. You normally design for proscenium arches, in a proscenium the principals ..I
think it is a great space but it is hard. You have to really test yourself and try to do different things.
You’ve got that fabulous back wall. We wanted to have different angles of these Italian streets.
Sometimes the space can be enough- the back wall and a prop. But that’s the beauty of it.
AT: Again, similar, but were there any specific challenges with Filumena
RJ: Trying to make it look bigger and more expensive than it was was a challenge for me. We were
trying to make the space feel different so it wasn’t just the Almeida. There are natural hot spots …once
you’ve got that..
AT: I have a few questions from our education dept for their resource pack.
how long does it take you to make a model box
RJ: how long’s a piece of string!
AT: For this show
RJ: that’s a tricky question. Three weeks You do sketches before the finished model, it’s a process not
just a model. It varies.
AT: What did you enjoy most about the design process
RJ: Erm, I like it all but I love the early stages of the model box with all the anticipation and starting to
create shapes. If it is a period piece I like the research, I’m really interested in architecture so I like all
of that. I love the beginning of it, I love doing it and then I really love the tech period when it is on
stage, I enjoy rehearsals but I really enjoy when it is on stage, it’s a living thing and when you light it,
it starts to come alive.
Interview with Designer
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Interview with Designer
AT: You mentioned research has that been a big part of this process
RJ: Yeah, in terms of understanding what that world is. You look at the houses, the streets, how big
the doors are, windows and shutters. Mike went to Naples, we used lots of his photographs then I
had lots of research books and things like that. You can only do one bit of that world so it has to be
right. Doors, shutters, orange trees, pot plants. Sunshine. You’ve go to try to get that snap shot. If
you said to someone ‘If you were going to Naples what would you feel’ they’d think about the
sunshine, the textures…
AT: And how do you know when you have done your job well
RJ: I think you know when you see it onstage and it works. It is an instinctive thing. You just know. I
have had that experience when I’ve seen something in a model box but then you see it onstage and it
just hasn’t gelled. When it all comes together, direction, lighting, design, acting, that’s what it is
because we have all contributed. I think the model process is a really important thing for me. You
have to give that information from the start. You’ve got to show what you want and communicate
what your idea is- ‘this is my idea, this is what I want it to look like and how I want it to feel like’ let’s
all get there together. My job is to tell people what I want it to look like. Once you get everyone on
board.
AT: How involved are you in the specifics
RJ: That’s my job no one else would know that. You know 2 foot tall, three feet wide, I’ve got to be
really specific. Telling people what you want. They then known exactly what I want. I specify everything
even what table decoration I want, it’s a communication thing.
AT: I suppose when you think of becoming a theatre designer you might not think of that.
RJ: Yeah I cant express that enough if this is what someone sets out to do. being a designer is 25%
design and 75% …psychology () and it’s a really interesting thought. It’s about communication.
you’ve really got to be able to get your ideas across, if you don’t you rely too much on other people’s
ideas and you lose sense of your personal vision.
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Michael Attenborough in rehearsal
Photo: Hugo Glendinning
Last autumn I decided to visit Naples as part of my research for Filumena. Hardly a huge sacrifice
you might think. How lovely; a beautiful romantic, Mediterranean sea port awaits me. What I found,
revealed this could not have been further from the truth – and infinitely more instructive than I had
anticipated, in terms of preparing to direct De Filippo’s play. Yes, Naples has its charms and a
Manhattan-like energy, but compared to other Italian cities, Rome, Venice, Florence, Verona, it could
not be more different.
Most strikingly, the gulf between rich and poor. Walking around the city, I suddenly found myself in
appalling slums; one of which – the Spanish Quarter – is the setting for most of De Filippo’s plays.
Bizarrely, its narrow streets run uphill immediately at right angles to the Via Toledo, which is like a
pedestrianized Knightsbridge, full of expensive fashion houses and every form of retail heaven –
obviously not remotely available to the impoverished under-class living just a few steps away.
From the Director
As Peter Robb’s illuminating book Street Fight in Naples (see below) makes clear, poverty in the
Spanish Quarter stretches back 400 years, as does its role as a red-light district. I was firmly told by
my hotel that I would be very ill-advised to visit the district after dark.
De Filippo’s play takes place in the very antithesis of a slum. Domenico comes from a wealthy family,
he is a successful, racehorse owning businessman. His residence is an oasis of beauty and comfort
and his riches an obvious magnet for ambitious young women, tradesmen, dress-makers and waiters
alike.
The key revelation for me was the social reality of Filumena’s background; the off-stage world that is
the genesis of what happens on-stage. Her description of her childhood is not some overblown
apologia for becoming a prostitute, but a very precise, specific context for her move on to the streets
and into the brothel on the hill.
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18

From the Director
Written in 1946 in a shell-shocked, economically polarised city, De Filippo’s audience would have
completely understood this – as the black and white photographs of the period clearly
demonstrate – the evidence of poverty was unmissable.
As I walked round the city, I was, in addition, painfully aware of barely concealed racism, evidenced
by sharply divided ethnically dominated districts. And also the lurking presence of the Mafia (the
Commora) – more powerful even than in Sicily – nowhere more graphically demonstrated than in
the immense mounds of garbage everywhere (complete with rats) that await collection, because of
the city fathers’ ongoing disputes with the unions and organised crime.
However, one gorgeous surprise lay in wait for me. The city’s pride in culture and in Eduardo De
Filippo in particular. Nowhere better exemplified than the huge picture of him in a book-shop
window in the city centre (which I gleefully set about photographing – see page 9). As I killed time
in the departure lounge at Naples airport I wandered over to the gift shop and found to my delight
a large poster full of pencil drawings of Eduardo (as the Neapolitans call him) and two fridge
magnets bearing his unmistakable features. I sadly thought to myself how bewildered a shop
assistant at Heathrow would be, were a visitor to ask for a fridge magnet of Harold Pinter.
Michael Attenborough
19
Resource Pack: Filumena

About Tanya Ronder
Tanya is a celebrated playwright who trained at
RADA and spent fourteen years working as an
actress before turning to writing.
Tanya adapted Federico García Lorca’s Blood
Wedding for the Almeida Theatre’s production in
2005, and wrote the Young Friend of the Almeida
LAB production, Or Nearest Offer, which featured in
the Almeida Summer Festival 2009.
Her 2007 adaptation of DBC Pierre's Booker-prize
winning novel, Vernon God Little, was nominated for
an Olivier Award for Best New Play as well as a
What's On Stage Award for Best New Comedy and
was revived by the Young Vic in 2011 as part of their
anniversary season.
In 2009, she adapted JM Barrie's much-loved children's book, Peter Pan, which played to critical
acclaim at Kensington Gardens' twelve hundred seat tent and then moved to the O2 for Christmas
before touring America in 2010. Other adaptations from the stage include Peribanez (Young Vic /
Company B, Australia); Night Flight (Muztheater, Amsterdam); Macbett (RSC).
Tanya Ronder
Tanya also writes for screen. In 2008 she wrote the short film King Bastard and worked on a feature
with producer Dixie Linder titled Random in 2010.
Other projects in development include Liola (under commission by National Theatre); The Table (an
evolving project with Rufus Norris, developed with the support of the National Theatre Studio); The
Blake Diptych (Fleur Darkin Dance Ensemble).
Resource Pack: Filumena 20

Tanya Ronder Interview
Almeida Projects spoke to Tanya Ronder during the rehearsal period for
Filumena, to ask about her work play and her inspiration behind the play.
Why did you decide to adapt Filumena
Because it's a fantastic play, funny and moving. I love the character of Filumena - how hard she is at
the start, how harsh she and Domenico are with one another, and how much the story moves by the
end of the play. And it's not just Filumena - all the characters are great - each with their own foibles.
It has a strong, dramatic thrust with twists and turns, and the ensemble of characters create many
joyful stage moments along the way.
Where did you start Describe the process in adapting Filumena.
I started at the beginning, and methodically moved through, draft after draft. I worked from Jane
Fallowfield's literal translation, with the Italian version along side. I try not to mind too much about
what comes out on to the page with the first draft. I'm just beginning to reach for intention, tone,
meaning - groping around for the right words, so I consider those early efforts as markers, pointers
towards where I want to go, rather than anything absolute. They are approximations, which become
more and more aligned and 'accurate' as the drafts progress.
What specific challenges did you face when adapting Filumena
The biggest challenge was the fact that he wrote it in Neapolitan dialect. This is a particular version of
Italian which is only spoken in Naples, nowhere else. Knowing that the whole play was in a language
which was virtually like our slang language, except it's spoken by the whole city, throws up immediate
questions. You know that it carries an energy and specificity in the original which will be hard to
replicate, or access. Even 'though the play was written just after the second world war, in 1946, I
knew I had to find a contemporary feel to the language, without straying in to phrases or vocabulary
which didn't exist back then. The city of Naples is such a hustling, front-line place, unique in so many
ways, including its language... it was trying to capture that essence in the words which was the
greatest challenge.
De Fillippo famously wrote in Neapolitan dialect – (how) have you managed to absorb this in your
adaptation Is there an equivalent in English
There isn't an equivalent in Britain of the Neapolitan dialect. Years ago the National Theatre did a De
Filippo play and they set it in Liverpool, because it's a feisty city, like Naples, and has a strong identity
in its accent and language, but we didn't want to be so specific with this 'Filumena'. i tried my best to
absorb the attitude beneath and behind those original words, and put that in to the version, rather
than finding an English equivalent. As I write, Michael (Attenborough) is still in rehearsals and he and
the cast have been experimenting with different accents and ways of speaking the text, hoping to
arrive at something quite organically through the process, which feels true to the new version and true
to Naples and De Filippo's original. British culture is so much to do with 'class', which isn't true of
other cultures. In places like Naples, the cultural divide is more straightforward - it's about having
money or not having money. Any British accent we put on stage says more than we want it to about
somebody's education, family background, status and 'class'. It can be a limiting thing, so we wanted
to avoid making statements with accents which we didn't intend to make, and let each character find
their voice.
What research did you do when doing the adaptation (i.e. did you read other adaptations)
Firstly, I went to Naples (hooray!), which was fantastic. And then, yes, I read all the other English
versions I could lay my hands on. I also read up about De Filippo, and watched a film version of
'Filumena'. Other than this, I just kept going back to the text for all the clues.
What is the difference between an adapter and a playwright
I imagine the difference to be that a playwright sits down with a blank piece of paper and finds a story
to fill it. With an adapter, there is already a piece of paper with something on it. I think of it as a map.
In reality, most playwrights would argue that they have some sort of map when they sit down to write,
be it a newspaper article or characters from their lives... Anyway, because I'm an adapter and not a
21 Resource Pack: Filumena

Emily Plumtree and Samantha Spiro
Photo: Hugo Glendinning
playwright, I'm always grateful that somebody else has thought of the plot and the characters, and my
task is to uproot it from one soil and replant it in another, and make it live again for a different time
and place and audience. I feel comfortable with having something to respond to, rather than inventing
from scratch. I think that being an adapter is an interpretative art, like a director, actor or designer,
rather than an initiator. Playwrights are the ones to take the first kick on an empty pitch.
What was your involvement in the rehearsal process
I was with the company for the first day of rehearsals - the read through and the actors looking at the
model box for the set - and then the 'round the table' days after that. This is when the actors read
through the play again, but more slowly, bringing up questions. It's the 'discussing' bit of rehearsals,
before the actors get on to their feet. Not all directors work in this way, but most do. Michael spent
until Wednesday lunchtime of the first week around the table, then, before they got on to their feet, I
left them to it. I will go back once they start running the play in the final week of rehearsal. And I
guess I will be around a bit during previews, when any last minute changes are being made to the
production.
What is the best thing about being a playwright
You get to work at home! Actually, I'm not a playwright, I'm an adapter, and the joy of that for me is
that I get to work with amazing writers all day long, turning over their words and ideas. I love getting
beneath people's feelings and trying to find the right words for them.
How did you get into doing what you do now
I trained as an actress, and worked for many years as one. I made the switch across to writing when I
was 36, and had my second child. I no longer wanted to tour, and put myself out there as an actor,
with all the vulnerabilities which come with acting. It made sense, all in a moment, to become a
stage-adapter. It meant taking all the things I loved about acting with me, and leaving behind the
things i didn't like.
Tanya Ronder Interview
What advice would you give to any young person who wanted to be a playwright
Write! And don't be afraid of how bad your first drafts are. Apart from a very few exceptional cases,
most writers do bad first drafts, and they only become good writers on the second, third, fourth, fifth
etc drafts. But the other thing to say is, don't send your play out too early to anyone. Because you can
sometimes only see how bad that first draft is when you have left it for a week or two - so leave it for a
week or two, or more if you can, then read it back through - you will be your own best editor and friend
Resource Pack: Filumena
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In the Rehearsal Room
Michael Attenborough in rehearsal
Photo: Hugo Glendinning
Assistant Director Jane Fallowfield gives us a unique
insight into the rehearsal room, and talks us through the
process from page to stage in her week-by-week rehearsal
diary.
Week One
A remarkable thing happened by the end of the first week of rehearsals
for Filumena: we had put the whole play on its feet. No one could quite
believe it, but by Friday afternoon we had a physical shape for the play, as
well as having explored the story and characters.
On the first day of rehearsals, Mike, our director, chatted about the
context of the play. He told us stories from his trip to Naples; we looked
at photos taken in the slums where the play is set in the 1940s; we heard
about the writer Eduardo De Filippo, and his company, who put on
shows that flew in the face of fascist propaganda which portrayed Italy
without poverty. The discussions are enriched by Tanya Ronder, who has
written the adaptation, as she feeds in her thoughts about the text. We
also have an Italian expert, Manuela, who chips in with linguistic and
Neapolitan knowledge. Rob, our designer, talks us through the model
box: a lavish courtyard belonging to a despotic womanizer who made his
fortune in pastry…
I could stand in front of a
mirror and spit in my own
face for the rest of my life
Domenico
On Tuesday morning, we begin slowly working through the play, with the
actors and Mike interrogating it moment by moment, pulling out
questions and finding answers; at the same time roughly plotting
through the actors’ moves.
We have laid the foundations of the play, with hard work, Mike’s stories,
and tea and biscuits.
23 Resource Pack: Filumena

Richard Riddell
Photo: Hugo Glendinning
Week Two
The second week of rehearsals begins, and we go back
to the top of the play, working through it slowly, in
detail. The actors really interrogate their lines, their
characters, their relationships and their backstories. We
run short sections, Mike gives the actors notes and
everyone discuss what is going on in the scene. Mike
works in a very flexible way, he reworks what we did
last week, trying out new blocking and working in new
ideas. One of the things I have learnt from assisting on
Filumena is not to feel pressurised or panicked into
locking down decisions in the first week. The story or
character questions that Mike left open are now being
answered gradually as we continue to work through the
play.
On Tuesday Robert, our designer, and Deborah, our
costume supervisor, come in to talk to each actor in
turn about their costumes. Mike has decided not to be
completely explicit about when we are setting the play.
De Filippo wrote it in 1946, but he does not mention
the war or the political context in Italy. He seemed to
want to draw attention to the injustices in Italian and
Neapolitan society without tying the play down to a
specific moment in time. Therefore, the costumes will
draw on late 1940s fashions. All aspects of the
costumes are discussed with each actor: every outfit
they wear, sometimes down to their underwear;
accessories such as canes and hats; hair styles, wigs,
hair dyes; the pros and cons of facial hair... By this
point in the process, the actors know quite a lot about
their characters, so they can make informed choices
and bring their own ideas to the table.
The rehearsal room walls are starting to fill up. I have
compiled a timeline from our discussions over the last
week or so, and we've photocopied pictures of life in
the Neapolitan slums.
We continue the detailed, slow work through the text.
It's satisfying and exciting work. Layer by layer, the play
is starting to take shape.
In the Rehearsal Room
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In the Rehearsal Room
Week Three
In the third week of rehearsals, the three acts start to take shape. We
work through each act in turn. As we work through, moment by
moment, Mike and the actors keep making discoveries. They refine,
question and cement the work we have done so far. After working
through an act, Mike gets the actors to run it. He gives them detailed
notes, sometimes going back over small sections to ‘work’ the notes.
It’s exciting to start to see each act as a whole, and to begin to
understand the journey the characters go on.
Terry King, our fight director, comes in on Monday to stage a fight
between the actors who play Filumena’s three sons: Luke, Richie and
Brodie. The actors talk him through the dynamics of the scene, and he
builds the fight very slowly, move by move, refining it, coming up with
ideas, scrapping them, coming up with new ones. We work the fight into
the act, and Terry comes back in on Friday to see how it’s going and
oversee the addition of a final undignified tumble onto the floor.
Sheila Reid
Photo: Hugo Glendinning
That’s true, how do
any of us end up doing
what we do Know
why I’m in my trade
Riccardo
The cast have started to disappear occasionally from the rehearsal room
for costume fittings with the designer and costume supervisor. Bits and
pieces of props have started to arrive in the rehearsal room, as our
Company Stage Manager Tamsin and Assistant Stage Manager Annique
trawl around for just the right piece of period (late 1940s) furniture,
jewelry, or object.
By the end of the third week we have run each act; the actors are coming
off book; and the shape of the play is becoming tantalizingly clearer.
25 Resource Pack: Filumena

In the Rehearsal Room
Week Four
In week four of rehearsals for Filumena, the
character's journeys and the shapes of the play
suddenly become clearer. This is because we have
started running the acts, we are able to see each act
as a whole, and Mike is able to give notes to further
clarify the story. Each act has its own challenges and
pleasures. Act one is an intense and sometimes
ferocious encounter between husband and wife,
backed up by their faithful companions. By this
point in rehearsals, this encounter is delicately and
tantalisingly shaped, weaving in revelations,
resentment and exasperation. A lot more story
unfolds during Act two. And Act three takes place
ten months later, by which time lots of things have
happened off stage.
Luke Norris
Photo: Hugo Glendinning
Talkative I step out of my
workshop for two minutes,
emergency call-out, and suddenly
I’m accused of being verbose!
Who are you – God Whatever
happened to manners, whose
house do you think you’re in
We build towards a run of the whole play on Friday.
At the end of the run, Mike gives notes, then writes
a ‘shopping list’ of moments that he wants to work,
either because he has an idea he wants to explore
with the actors or because he wants to make a
change to the blocking.
The actors are off-book, having conquered the big
challenge of line learning, particularly for Sam and
Clive. Pin, our DSM, keeps a close eye on any small,
recurring mistakes and runs through them with each
actor individually.
Finally, a significant achievement of week four is that
Sheila and Sam have learnt a song about a
goldfinch, with which their characters taunt and
infuriate Domenico. The original Neapolitan lyrics
were translated by Tanya and set to music by an
MD.
Michele
Resource Pack: Filumena
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In the Rehearsal Room
Weeks Five and Six
In the final week of rehearsals, we go back to the start of the play, and work through each act slowly
for the last time. This takes two days, and it is a chance for Mike and the actors to hone the details of
the scenes. It is also a useful way to build towards the three runs that we are going to do on
Wednesday, Thursday and Friday, and make sure everyone feels confident before we begin these runs.
We are starting to get an audience trickling into the rehearsal room: Tanya, our writer, the creative
team (designer, lighting designer, sound designer) and members of staff from the office and from the
box office. The creative team scribble away, or tap away on laptops honing their thoughts before we
go into the technical rehearsals It’s fun to watch the play with people who haven’t seen it yet, and
it’s a useful way of seeing it with fresh eyes. After each run, Mike gives notes and makes a ‘shopping
list’, working through isolated moments and making some changes. On Monday we run the play
again, and on Tuesday the tech begins. The tech runs smoothly, and we manage to finish it in a day,
which is a bit of a record according to the Almeida technicians. This allows us to do two dress
rehearsals before the first preview. Throughout this period, the actors are getting used to their new
space, and enjoying Rob Jones’ beautiful set. Rob, Deborah (the costume supervisor) and the stage
management team are working flat out on the details of the props, set and costumes: the interior of
the house we glimpse through doors is dressed, table legs are painted, steps are covered with felt to
make them sound much less wooden, actors’ faces are dusted with bronzer to make them look less
English and more Italian…
At this point Mike is giving technical notes as well as notes for the actors. These might involve a
moment within a scene, or a scene change, and Mike works out what story we want to tell the
audience and the best way of achieving this using lighting and sound.
As we go into the first preview, Mike’s advice is to concentrate on telling the audience the brilliant
story that unfolds in the play…
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Resource Pack: Filumena

Neapolitan Dialect
Filumena was originally written in Neapolitan dialect, below is some information and background
about what Neapolitan diaclect is, it’s origins and significance in cuture and society today.
Napoletano / Nnapulitano
Neapolitan (autonym: nnapulitano; Italian: napoletano) is the language of the city and region of
Naples (Neapolitan: Nàpule;Italian: Napoli), and Campania. It is part of Southern Italian, what
Ethnologue calls Napoletano-Calabrese. On 14 October 2008, a law was passed by the Region of
Campania, stating that the Neapolitan language was to be legally protected
Origin and evolution
Its evolution has been similar to that of Italian and other Romance languages from their roots in
Spoken Latin. It has also developed with a pre-Latin Oscan influence.
In culture
Neapolitan has enjoyed a rich literary, musical and theatrical history (notably Giambattista Basile,
Eduardo de Filippo, Salvatore di Giacomo and Totò). Thanks to this heritage and the musical work of
Renato Carosone in the 1950s, Neapolitan is still in use in popular music, even gaining national
popularity in the songs of Pino Daniele and the Nuova Compagnia di Canto Popolare.
The Alphabet and prenuciation
The Neapolitan alphabet, like the Italian alphabet, is almost the same as the English alphabet except
that it consists of only 22 letters. It does not contain k, w, x, or y even though these letters might be
found in some foreign words.
The pronunciation guidelines that follow are based on pronunciation of American English and these
values may or may not be applicable to British English.
All romance languages are closely related. Although Neapolitan shares a high degree of its vocabulary
with Italian, the official language of Italy, differences in pronunciation often make the connection
unrecognizable to those without knowledge of Neapolitan.
The most striking phonological difference is the Neapolitan weakening of unstressed vowels into
schwa (schwais pronounced like the a in about or the u in upon). However it is also possible (and
quite common for some Neapolitans) to speak standard Italian with a "Neapolitan accent"; that is, by
pronouncing un-stressed vowels as schwa but by otherwise using only entirely standard words and
grammatical forms. This is not Neapolitan proper, but a mere difference in Italian pronunciation.
Neapolitan dialect
Therefore, while pronunciation presents the strongest barrier to comprehension, the grammar of
Neapolitan is what sets it apart from Italian. In Neapolitan, for example, the gender and number of a
word is expressed by a change in the accented vowel, whereas in Italian it is expressed by a change in
the final vowel (e.g. luongo, longa; Italian lungo, lunga; masc. "long", fem. "long"). These and other
morpho-syntactic differences distinguish the Neapolitan language from the Italian language and the
Neapolitan accent.
Resource Pack: Filumena 28

Neapolitan dialect
Vowels
While there are only five graphic vowels in Neapolitan, phonetically, there are eight. The vowels e and
o can be either "closed" or "open" and the pronunciation is different for the two. The grave accent (à,
è, ò) is used to denote open vowels, and the acute accent (é, í, ó, ú) is used to denote closed vowels.
However, accent marks are not used in the actual spelling of words except when they occur on the
final syllable of a word, such as Totò, arrivà, or pecché and when they appear here in other positions
it is only to demonstrate where the stress, or accent, falls in some words.
The Lord's Prayer is here reproduced in Italian, Neapolitan and in English
Lords prayer in Italian
Padre Nostro, che sei nei cieli,
sia santificato il tuo nome.
Venga il tuo regno,
sia fatta la tua volontà,
come in cielo, così in terra
Dacci oggi il nostro pane quotidiano,
e rimetti a noi i nostri debiti,
come noi li rimettiamo ai nostri debitori.
E non ci indurre in tentazione,
ma liberaci dal male.
Amen.
Translation in English
Our Father who art in heaven,
hallowed by thy name
Thy kingdom come,
Thy will be done,
on earth as it is in heaven.
Give us this day our daily bread
and forgive us our trespasses
as we forgive those who trespass against us,
and lead us not into temptation,
but deliver us from evil.
Amen.
Sample text in Neapolitan (Lord's Prayer)
Pate nuoste ca staje 'ncielo,
santificammo 'o nomme tuojo
faje vení 'o regno tuojo,
sempe c' 'a vuluntà toja,
accussí 'ncielo e 'nterra.
Fance avé 'o ppane tutt' 'e juorne
lièvace 'e dièbbete
comme nuje 'e llevamme a ll'ate,
nun 'nce fa spantecà,
e llievace 'o mmale 'a tuorno.
Ammèn.
To see photographs of Naples in the 1940’s please click the link
http://www.intramoenia.it/IMAGO14/thumbnails.phpalbum=31
29 Resource Pack: Filumena

Eduardo De Filippo is one of the
most well-respected dramatists of
contemporary Italian theatre, having
written over 50 plays. Eduardo
began writing one-act plays in 1929
as part of the Molinari Company
which he joined as an actor. In 1932
the De Filippos began their own
theatre company and toured Italy
with a number of Eduardo’s one-act
plays with great success. In the
following year the De Filippo
company produced a number of
films, beginning with The Three
Men In Tails and Eduardo’s first
screenplay I Did It. Eduardo firmly
established his reputation in the 40s
with plays such as Napoli
Milionaria, Too Many Ghosts! and
Filumena Marturano which was
written for his sister. He died in
1984.
1900 Eduardo De Filippo is born on 24 May to Eduardo Scarpetta, a renowned actor and playwright,
and his lover Luisa. Eduardo Scarpetta was married to Rosa De Filippo, a Mediterranean ‘capoclan’
(matriarch), who accepted his promiscuous behaviour. Luisa and Eduardo Scarpetta were very much
in love and she lived with them for 30 years until his death.
1903 Peppino, De Filippo’s brother is born to Scarpetta and Luisa. He also has an older sister, Titina
who was born in 1898. Apart from the three De Filippos, Scarpetta’s other illegitimate children
included Pasquale and Eduardo Passarelli (who became actors in his company) and Ernesto Murolo
(a poet).
As children they are encouraged to create plays and were often found running around backstage
during Scarpetta’s productions.
Eduardo De Filippo
1904 First stage appearance with his father in a parody of the operetta La Geisha.
1914 De Filippo joins Titina as a member of Scarpetta’s company. They perform in up to three shows
a day and were treated harshly by their father; as he grew older Scarpetta became increasingly
cantankerous.
1922 Mussolini takes power, an event that is mourned by the actor’s in Scarpetta’s company.
De Filippo writes his first short plays and directs his first production, a musical. He becomes known
as the ‘brillante’ – the overachiever.
1925 Scarpetta dies. His death covers the front pages of the newspapers, Neapolitans pay their
respect to his preserved body, streaming through the doors for two days. Scarpetta left a small
monthly allowance to Luisa, De Filippo’s mother, but no money to the De Filippo children. He left the
rights to his plays to De Filippo.
Resource Pack: Filumena
30

Eduardo De Filippo
1926 Peppino and De Filippo tire of Scarpetta’s company and try to form their own. Failing to
make any money they are forced to return. They fail a second time to establish their own
company, but find success when they enlist the actor Totò in staging a show that satirizes the
fascist regime.
1928 De Filippo marries Dorothy Pennington, or Dodò.
The De Filippo’s company becomes increasingly popular in Naples, with Neapolitans adopting
their characters’ catchphrases. Elsewhere their sketches receive a mixed response and make little
money.
1929 The De Filippo’s begin staging three act plays rather than comedy sketches. Their first full
play Chi è cchiu' felice 'e me (Who's Happier than Me) is well-received and seen by the famous
writer Pirandello.
Having won over Naples, the De Filippo’s needed to charm the rest of Italy. They went to
Bologna, Turin, Rome and Milan and became a big hit with critics and their peers.
De Filippo begins writing using Neapolitan dialect, something that was frowned upon by the
fascist government who despised regionalism.
1933 De Filippo finally meets Pirandello aged 66. Pirandello allows De Filippo to translate his
plays into Neapolitan and begins collaborating with him.
The De Filippo company begin producing films as well as starring in them.
1935 The ‘Theatre Inspectorate’ is created by Mussolini’s government. It became impossible to
make work that was not checked by the authorities. De Filippo’s popularity means he is tolerated
by Mussolini.
1937 De Filippo nearly dies of typhus - the papers had written his obituaries.
1943 During World War II Allied forces invade Italy leading to the collapse of the fascist regime
and the fall of Mussolini.
1945 Premiere of Napoli milionaria (The Millions of Naples). This and Filumena Marturano,
which premieres in 1946, cement De Filippo’s longstanding reputation in Italy.
1946 Italy becomes a Republic.
1954 De Filippo stars in De Sica's L'oro di Napoli with Totò and Sophia Loren.
1967 Totò dies.
1981 De Filippo is made a life senate for outstanding contributions to art.
1984 De Filippo dies on 31 October.
31 Resource Pack: Filumena

Filumena deals with a number of themes that are particularly
interesting to explore in the classroom, for example: Gender, family,
responsibility, trust, love, betrayal and morality. Below are just a few
suggested exercises for use in lesson time to investigate these themes
in further depth.
Exercise 1: What has happened
Duration: 15 minutes
Aim: To enable students to explore the emotional life of the characters from Filumena and to work on
their devising skills.
Practical Exercise: What has happened
As a whole group, read the opening of the play, p3-4. Script extract 1
• Ask the group, ‘What do we think has happened’
• In groups of 4/5, create a 30 second piece that takes place immediately prior to this scene.
• Share some back.
The play starts with Filumena tricking Domenico into marrying her as he thinks she’s dying.
Exercise 2: Family Relationships- Siblings
Duration: 15/20 minutes
In the play, you see a family who did not know of each other’s existence becoming united.
• In three’s, develop a short improvised scene as adult siblings who haven’t seen each other for
many many years. Decide why not. Improvise the meeting between the two of you. How do you
feel towards each other Why have you come together Why haven’t you seen each other for so long
YOU CANNOT MENTION, IN YOUR IMPROV WHY YOU HAVEN’T SEEN EACH OTHER
FOR YEARS….
Practical Exercises
• Share these back to the group.
Evaluation:
Discuss as a group how each of the siblings reacts differently to the news, and to each other.
Resource Pack: Filumena
32

Practical Exercises
Exercise 3: Inheritence
Duration: 15-20 minutes
Aim: To explore inheritence , which is one of the themes within Filumena in a practical way,
intellectually as well as in a non-verbal way.
• In a circle, go round and show us physically something you have inherited from your parents
(An object or a physical attribute)
• When Domenico discovers he is father to one of the boys, he tries to uncover which one through
a variety of means.
• In groups of five. Create a scene that uses no words at all, only movement, which shows
something being passed down through generations of a family. You need to make it clear to
the audience, what that thing is- it doesn’t have to be an object, it could be a physical attribute,
or something negative like a disease.
• Share these back with the group
Evaluation: After the sharing the movement pieces discuss the impact of genetic inheritence and what
part that has to play in people’s lives. When watching the play Filumena look out for how Domenico
tries to identify his true son in the play.
Exercise 4: Exploring Text
Duration: 30-45 minutes
Aim: To examine the way that Tanya Ronder writes dialogue employing dramtic irony and exploring
family relationships, and how the writing develops plot and ideas. To allow participants engage with
the script of Filumena, raising points to watch out for when watching the play.
You will need: Multiple copies of the script extracts from Filumena starting in the next section. Please
note: some of the script extracts contain strong language, and teacher discretion is advised.
Practical Exercise: In small groups, read through the extracts from the play, before choosing a short
section to stage. Consider the different techniques you can employ in your performance, and also
think about not over dramatising it as you present it.
• Share these back with the group
Evaluation: In filumena . What do you notice about the dialogue on the page What opportunities and
challenges does it present to the performer What worked well in staging and what less so Ask
students to think about the scene they performed when watching the play at the Almeida Theatre.
33
Resource Pack: Filumena

Filumena Act One, p3-4
Naples, 1946, late spring, dusk. In the middle of this lush house is a courtyard, with a romantic
table set for two. Domenico enters followed by Alfredo, smacks himself. Filumena and Rosalia
follow on.
Domenico You stupid, stupid man. So, so, so stupid...
He keeps thumping and slapping. He’s in his trousers and a pyjama-jacket.
Alfredo
(Ineffective) Don’t, Domenico…
Domenico I could stand in front of a mirror and spit in my own face for the rest of my life. (To
Filumena) A quarter of a century, you’ve had! My looks, my brains, my vigour - what more do you
want What have I got you’ve not already plundered
(Filumena, in her nightdress, is like a powerful animal)
My skin Take it. Fleece me like a sheep, why don’t you You have had me, all of you! (To himself,
a harsh talking-to) Whilst you, mug, swanned around like Christ Almighty, they’ve been sucking you
dry! (Back to them) You, you, you, the street, Naples, the world, everyone has been using me, I
can’t even think about it! Why am I shocked Why should twenty-five years change a woman like
you Because only your sort could descend to these depths, Filumena. But don’t go thinking you’ve
won because, let me tell you, you’ve not! Because I’m going to kill you, and everybody who has had
anything to do with this. The priest, the doctor, these rats (Alfredo and Rosalia) – all of you prepare
to die!
(Rosalia is nervous, Alfredo’s calm. To Alfredo)
Bring me my gun.
Script Extract #1
Alfredo It’s at the gun shop.
(Domenico glares at him)
You said it needed cleaning.
Domenico I don’t care what I said or when I said it, or what anyone’s ever heard me say, this is the
end, do you hear (To Filumena) Get out of here now and if you don’t, you’ll be carried foot first in
a box. Domenico Soriano will not be bossed around by anyone, whoever they think they are! And if
you try, I’ll lock you up. I’ll show those lawyers the colour of my lira, Filume’, then we’ll dance, to the
beat of my drum!
(He’s running out of steam)
Resource Pack: Filumena
34

Script Extract #2
Filumena Script extract #2
Filumena So, when’s Vulture coming
(The door slams again.)
Diana(Off) Hello!
(Filumena and Domenico look at one another. In breezes Diana, who makes the best of herself.
She doesn’t see Filumena)
That was fun, using the key for the first time! Ah, roses, that’s sweet of you, Domenico. Run me a
bath will you, Rosalia (Lifting the lid on the food) Mm, smells good. I’m ravenous. I found
camphor and adrenaline, but no oxygen. Such a crowd at the pharmacy, it was a real bore.
(She pops behind a curtain by Domenico’s study, to change in to her nurse’s uniform. Everyone
watches the disaster unfold as she carries on talking from behind it)
I was thinking – God, I don’t want to say it, but I was thinking - if she dies tonight, I’ll stay, but leave
first thing in the morning. I’ve managed to secure a lift in a friend’s car. I’d only be a nuisance
here, with the funeral arrangements and everything, and I have lots of bits and pieces to do in
Bologna. I’ll be back in ten days, Domenico. How is she, still hanging in there Did the priest
come
(Filumena whooshes the curtain back. Diana shrieks)
Filumena
Diana I’m sorry
Filumena Move.
He did. Come out of there.
(Diana comes in to the middle of the courtyard. She picks up a rose from the table for support)
Put the flower down!
Rosalia
Do.
She does. Now she just stands, awkwardly.
Filumena Yes, the priest came, saw I was close to death and advised Don Domenico to marry me
immediately. Take that off.
Rosalia She means your uniform.
Diana looks to the curtain, Filumena makes her stay put. Mortified, Diana starts to undress.
Filumena And, Don Domenico, because he does somewhere deep inside have a sense of what is
right and fair, thought, ‘of course! This saint has lived in sin with me for twenty seven years, I
should marry her’, and other consequential and inconsequential details which I have no intention of
sharing with you. The long and the short of it is that the Priest brought Domenico to my bedside,
where he married us! Here are our two witnesses (Rosalia and Alfredo), and do you know, marriage
must be a miracle cure because no sooner was the ceremony over but I fully recovered. So,
naturally, where there is no patient there is no need for a nurse - (her uniform) all of it, off - or any
dirty little bitches who do filthy things in front of dying women.
35 Resource Pack: Filumena

(Diana is now stripped to her underwear)
Because only prime pieces of muck would let her breasts and other parts be fondled inches from a
death bed. Off you go, and take your trail of slime with you, you bitch on heat.
(Diana smiles inanely, not knowing how to reply)
Go on.
Diana
Okay.
Filumena And if you need somewhere to stay, there’s a house on the hill I once lived in, which
welcomes girls like you.
Diana Okay.
Filumena Domenico can give you the address, he knows it well. He knows them all, those houses,
but is particularly familiar with the one on the hill, aren’t you, Domenico
(Rosalia’s back with the clothes)
Now, leave.
Flustered, Diana takes them.
Diana Thank you.
Filumena
Diana
Don’t mention it, any time.
Good night.
(The door slams, she’s gone.)
Script Extract #2
Resource Pack: Filumena
36

Script Extract #3
Filumena Extract Three, pp27-28
Michele Where is it, Luci’, bathroom or kitchen I hope the welding’s holding underneath the
bath…
Lucia No, no, that’s perfect.
Michele Good, so where’s the leak
Lucia No leak. Wait there, I’m going to get donna Filumena.
She goes upstairs.
Michele (To Riccardo) How do you do
(Riccardo gives a slight nod)
I’ve left the workshop empty… (rolling a cigarette) Do you have a light
Riccardo No.
Michele No smokes, then.
(Pause)
Are you a friend or relative
Riccardo Are you a private detective
Michele I beg your pardon
Riccardo Chit-chat chit-chat. Chat to him, I’m the quiet type, me.
Michele Oh And pleasant with it. Who do you think you are, the Pope
Umberto
He’s not a Pope, he’s a sex-addict.
Riccardo What did you call me
Umberto You come in here, in to the middle of somebody’s house, and throw yourself at the maid!
You see me sitting here, ignore me completely, then this poor man comes in, is a bit talkative and
straight away you’re rude to his face, I mean, Jesus!
Michele Talkative I step out of my workshop for two minutes, emergency call-out, and suddenly I’m
accused of being verbose! (To Umberto) Who are you – God (To Riccardo) Whatever happened to
manners, whose house do you think you’re in
Riccardo
I don’t care whose house I’m in, you’re really beginning to annoy me.
He rolls his sleeves up. Michelle drops his tools.
Michele
Riccardo
Oh, yeah
Think I’m scared of you
37 Resource Pack: Filumena

Umberto gets ready to intervene.
Michele (Imitating him) ‘Think I’m scared of you’
(Michele pushes Riccardo who squares up to him. Clumsy fight ensues.)
Riccardo Push me, would you Ponce.
Michele You can talk. Look at you, in your fancy shirt.
Umberto Come on lads, this is just silly…
Michele Ooh la la…
Umberto Come on, now.
Riccardo Hark at God-almighty here.
Michele Sarcasm is the lowest form of wit.
Riccardo What You twat.
Umberto gets between the other two.
Umberto Come on, lads, lads!
Michele Get out the way, four-eyes!
Umberto Shut up!
Umberto Break it up, for God’s sake.
Script Extract #3
Riccardo
Michele
Riccardo
The only thing I’m breaking is this ponce’s nose.
You think you can say that and get away with it
Ooh, big man.
A clumsy fight ensues. Filumena comes flying in.
Resource Pack: Filumena
38

Almeida
Projects
Filumena
Almeida Projects Resource Pack
Written and designed by Charlie Payne
and Boris Witzenfeld with contributions
from Natalie Mitchell, Stephanie Bell
and Natasha Nixon.
Filumena by Eduardo De Filippo in a
new English version by Tanya Ronder
was produced at the Almeida Theatre
15 March 2012 - 12 May 2012.
The information in this Resource Pack
is correct at the time of going to Press.
All rights reserved. © Almeida Theatre,
Published November 2012.
The Almeida Theatre is a Registered
Charity No. 282167. The Almeida
Theatre Company Limited, Almeida
Street, London N1 1TA. Use of this
Almeida Projects Resource Pack is
authorised in connection with the
Almeida Projects work at the Almeida
Theatre. Any further use in any form
must be approved by the creators. The
copyright of all original material
remains with the creators.
Almeida Projects photography: Ludovic
des Cognets, Lucy Cullen.
Almeida Projects is the Almeida Theatre’s
creative learning programme.
Inspired by the Almeida Theatre’s productions, Almeida Projects delivers a
range of high quality, innovative activities to make the theatre accessible to
young people, inspire them creatively and encourage an exploration of the
power and potential of theatre.
Almeida Projects provides an active, creative link between our
theatre and its audience, more specifically an audience that may
not have considered that the theatre might not be for them.
Our aim is to act as a catalyst to their energies, to their hunger to
participate - celebrating the creativity of young people in the best way
we know how: by offering them our experience, our expertise and
our unique theatre.
Michael Attenborough
Artistic Director
Almeida Projects’ work draws on all aspects of theatre, working with
thousands of people each year, and includes: work in partnership with local
schools; the Young Friend of the Almeida scheme; and a subsidised ticket
scheme for schools. For more information please visit our website.
almeida.co.uk/education
Almeida Projects is supported by:
Aspen
Bank of America Merrill Lynch
The Noël Coward Foundation
Elm Capital Associates Ltd
The Peter Harrison Foundation
Islington Council
Market Securities
Pinsent Masons
The Rayne Foundation
Mrs Sue Baring
Lady Boothby
Miss Deborah Brett
Perdita Cargill-Thompson & Jonathan Martin
Stamos J Fafalios
Joachim Fleury
Lord Hart of Chilton
.
Tamara Ingram
Jack & Linda Keenan
Charles & Nicky Manby
Georgia Oetker
Christopher Rodrigues
Nicola Stanhope
Jane Thompson
Sarka Tourres
Simon & Glennie Weil
London Marathon Runners:
Jamie Arkell
Andrew Goldstone
Andrea Sullivan