The Prince of Lilies is a solo performance born as an artistic reflection upon the evolution of the woman in Western contemporary society. Cultural movements and socio-political changes in the last decades present us with a woman who claims characteristics and roles much different from those played by the previous generations.

The work opens within one of those symbolic figures, Margherita Gautier from The Lady of the Camellias and develops through some instances of contemporary feminism. The difference between the sexes is highlighted by the myth of Tiresia and his double biological experience as well as by the sexual opposition worked out by the most recent Western culture.

The work bears the structure of a dramatic rhapsody which exploits different registers: textual work, singing, lyrically organised movements, which aim at a total theatrical presence, a token of the most recent evolution of contemporary stage grammar.

The performance could also be seen as the Hymn of an unknown lover to a Leopardi’s Alla Sua Donna or even (paraphrasing what Camille Paglia states about the sow-Irland mother in relation to Joyce) “a protest against an unbearable spiritual dependence and an immortal monument to the power that binds him”.