Review: The Cannoneer, Barons Court Theatre

The Cannoneer is a one-woman show written, directed, produced and performed by Silvia Manazzone. The protagonist of the show is the little-known Giuseppa Bolsonaro Calcagno, known as ‘Peppa.’ Orphaned in Catania, Sicily, she aims to set her story straight by taking us from her humble beginnings as a barmaid, through to an explosive, single-handed defeat of the Borboni Cavalry. Predictably betrayed by the new state that had just lauded her a hero, The Cannoneer takes the story of this forgotten folk hero and interrogates how social and historical contexts influence who is remembered, and how.

It is clear from the outset that this show is very well researched. Considering the lack of readily available information about ‘Peppa,’  she is fleshed out into a charming persona. Also, the story is set during the Unification of Italy in the mid-1800’s, a period not well known to most UK theatregoers, which adds a fascinating new perspective. Considering the current wave of musicals and revivals being staged, it’s refreshing to see a show that tackles something different, and with great enthusiasm. 

However, The Cannoneer is not without its issues. The writing tries to distil a complex historical event, along with a complicated character, into a very short performance. A lot of the show is given over to contextualisation and the build-up to the pivotal battle with the Borboni Cavalry, where Peppa becomes ‘The Cannoneer.’ This results in the most crucial parts of the story being pushed to the last ten minutes, which are then run by very quickly. There are passages containing long monologues that don’t move the action forward, as well as side characters that have generous stage time but don’t add anything to the story. The character of Peppa, while intriguing, isn’t given an arc; it’s not clear what she wants or why she does what she does. So, altogether, the show comes across as a comedic history lesson, rather than as Peppa’s story. 

The clowning element is pushed hard in The Cannoneer, which doesn’t always work in its favour. While the expected elements of clowning are all present – audience participation, high physicality, vulnerability, experimentation – it lacks a certain charm that would make the humour sparkle. The audience participation occurs before any real rapport has been established, so these moments feel somewhat contrived. A fight scene between characters devolves to the performer rolling around on the floor. Moments that could be funny and engaging often become awkward and clumsy.

Given the hour-long run time, Manazzone does a brilliant job of maintaining an inspiring level of energy right to the very end. Thoroughly watchable, she brings Peppa to life in a way that is both frenetic and heartfelt. In addition to the titular character, she also performs the side characters with equal warmth and mirth, such as Peppa’s lover Vanni and the commanding General Garibaldi. 

The props used for this performance are minimal – a table, a chair, and a small cabinet – but used to good effect. Manipulated to become a bar, a stable, a battle ground, Manazzone’s physicality along with clever use of props ensures the world of The Cannoneer is not restricted by the small size of the Barons Court Theatre stage. 

Currently, The Cannoneer is being let down by its unbalanced pacing and overreliance on clowning, rather than letting its natural humour come through. However, the potential is there for it to be a really good show. The historical premise is interesting, the central character is fun and there are enough comedic and dramatic moments to keep the narrative engaging. With some rewriting and further development, the orphan from Catalina could find her audience yet. 

Directed, Written and Produced by Silvia Manazzone

The Cannoneer plays at the Barons Court Theatre, London, until Saturday 17 October.