In the production history of the company this television experience, entitled "Sfavillante" (Sparkling), forms the ninth part of The Best of Possible Worlds and is the final piece to be done in performance format - the project will come to a close with a publication.
Whereas in 2002 Part one "La forma delle cose" (The Shape of Things - winner of the 2002 UBU Prize) began with some sad zapping in front of a TV screen, now, in an odd symmetry of fate, the company has ended up giving shape to the chaos from behind that same screen.
performance with Daniele Silvestri:
“Mama RAI has (nearly) always favoured conventional dance. Suddenly, “Vieni via con me” has swept dance hall rust and dance chick clichés away by opening its ranks to the “eternally excluded”: contemporary dance choreographers and performers. A decades-awaited Copernican revolution, a smart move by the show’s authors ultimately pulled off by them: the performers and creators. Who apparently have notched up the highest audience share of the Fazio Saviano format thus far. Add to that all the visitors to the Compagnia Aldes website of Roberto Castello, who guided the TV appearances, and the audience becomes truly immense. Castello has been generous, calling on former and recent colleagues and friends. All with rich curricula - they shouldn’t be forgotten by RAI when “Vieni via con me” [Come away with me - ndt] really has gone away (...). All of them are still on the crest of the wave, yet always with that frustrating heroism of Italian artists “of the body”, practically forgotten by public funding and even deprived of the basic media visibility and professional recognisability they more than deserve. (…) There is a rare inventiveness both in the costumes and in camerawork that is careful to pick up on body details: from faces right down to feet. Plenty of innovation combined with nods to tradition, such as the group ‘à la Kantor’ advancing downstage - again in the 22 November episode - and then one big, unbridled, up-close and impeccably professional group effort keep the viewer glued to the screen. Hard to dare zap. (…)