I landed in Rome on 31 January with barely enough time to swap airport mode for theatre mode. A few hours earlier I’d been in London; by that evening I was dashing through the streets of the Eternal City towards Teatro Sistina, heart racing, coat flapping, thinking: this is either madness… or magic.
It turned out to be both.
Tootsie, the Italian musical adaptation of the iconic Dustin Hoffman film, is currently touring – but I caught it during its triumphant Roman run, and what a night it was. From the moment the curtain rose, the atmosphere was electric. The Sistina audience doesn’t do polite applause – they live their theatre – and within minutes the laughter was rolling through the auditorium in waves.
For anyone who needs a refresher, the story follows Michael Dorsey, a talented but impossible actor who can’t keep a job. In a moment of desperation (and theatrical brilliance), he reinvents himself as Dorothy Michaels – and suddenly becomes a star. The catch? He falls in love while disguised as someone he isn’t. Chaos, comedy and a surprising amount of emotional depth ensue.
This Italian production, directed by Massimo Romeo Piparo, manages to be slick, fast-paced and gloriously entertaining while still tackling themes that feel strikingly current: sexism in the workplace, the male gaze, the absurdities of show-business, influencer culture versus real talent, and that eternal question – who are we when we’re forced to see the world from someone else’s perspective?
And yes, it’s all in Italian.
But here’s the thing – a great musical transcends language. If you know the film, you already understand the bones of the story. If you don’t, the physical comedy, expressive performances and sheer theatrical energy carry you along effortlessly. I’ve seen audiences in London fall in love with French opera and Spanish flamenco without understanding every word – this is no different. Laughter, timing and human truth don’t need subtitles.
Paolo Conticini takes on the mammoth task of stepping into Dustin Hoffman’s (very high) heels as Michael/Dorothy. He is charming, playful and completely committed to the transformation. His spoken transitions between male and falsetto “female” voice are particularly clever and sharply observed. Vocally, he may not have the powerhouse musical theatre belt of some of his co-stars – and when surrounded by performers who could probably project to the Vatican unaided, it does show – but his charisma and comic timing more than compensate. As they say, nobody’s perfect… and frankly, that vulnerability adds to the character.
Mauro Casciari as Jeff – Michael’s sardonic best friend and reluctant voice of reason – is a revelation. London Mums readers might know him from Italian television (Viva Rai 2 with Fiorello), but this is his theatrical debut, and he absolutely owns it. His humour is precise, intelligent and deliciously dry. On stage, he provides the perfect counterbalance to Michael’s chaos.
And then – because Rome always rewards a bit of boldness – I met them both after the show.
There’s something wonderfully old-school about Italian theatre: the cast actually come out to greet the audience. After such an intense, exhilarating day – plane, taxi, theatre, curtain up – chatting with Paolo Conticini and Mauro Casciari outside the Sistina felt surreal and completely joyful. Both Conticini and Casciari were warm, witty and refreshingly down to earth – exactly the sort of persons you’d want to share a late-night pasta with while dissecting the madness of show-business.
The supporting cast deserves a standing ovation of their own. Beatrice Baldaccini (Julie) delivers vocals that soar to the back of the gallery. Ilaria Fioravanti’s Sandy is effervescent and sharply drawn. The ensemble is polished, energetic and unmistakably “Serie A” level. The choreography sparkles, the costumes wink knowingly at Broadway glamour, and David Yazbek’s score drives the whole machine forward with infectious rhythm.
But beneath the wigs and the whirlwind costume changes lies a line that still lands like a quiet thunderbolt:
“I was a better man with you as a woman than I ever was with other women as a man.”
That’s the genius of Tootsie. It makes you laugh – properly laugh – and then gently nudges you to reflect. On empathy. On perspective. On what women navigate daily. On what men might finally understand if they dared to step into different shoes (preferably high-heeled).
For London families planning a cultural escape, here’s my take: if this show tours near you – or if you find yourself in Italy – go. Take your teens. It’s witty enough for adults, accessible enough for older children, and layered enough to spark conversations about gender, ambition and integrity long after the curtain call.
And if, like me, you land in Rome with barely time to breathe before racing to the theatre – even better. Some nights are meant to be intense, exhilarating and a little bit dramatic.
After all, what’s life without a quick costume change?
Monica Costa founded London Mums in September 2006 after her son Diego’s birth together with a group of mothers who felt the need of meeting up regularly to share the challenges and joys of motherhood in metropolitan and multicultural London. London Mums is the FREE and independent peer support group for mums and mumpreneurs based in London https://www.londonmumsmagazine.com and you can connect on Twitter @londonmums
