Thomas Centaro: from theater to musical, between irony and experimentation
Actor, voice actor, director, writer. Thomas Centaro is a multifaceted artist who has made originality his trademark. From theater to dubbing, through writing and directing, his career is a journey across different genres and languages, always with a touch of irony and creativity. His unique style clearly emerges in his musicals, where pop elements and cult references intertwine with theatrical tradition, creating unique shows that entertain while prompting reflection. With “Kiss Me Licia – Il Musical”, Centaro brought to the stage an icon of many generations’ childhoods, tackling the challenge of recreating the original magic with a modern and engaging theatrical language. In this interview, he shares insights into his artistic journey, the challenges of directing, his love for experimentation, and his connection to Sicily.
Q: Actor, voice actor, director, and much more. How did your interest in the entertainment world begin, and how did you train professionally?
A: I started being curious about the entertainment world without even realizing it, as a child, watching The Wizard of Oz cartoon and wondering how animated characters could talk. Then, at the age of 12, I got involved in amateur theater in my neighborhood, and by 16, I was already enrolled at the Centro Teatro Attivo in Milan to train as a professional.
Q: You work extensively as both an actor and a director. How does your perspective change depending on the role you take on?
A: The perspective changes radically because the director is responsible for the overall vision of the show, from the artistic concept to staging. Meanwhile, the actor brings the character to life, focusing on performance and the authenticity of the role. So, they are two completely different figures.
Q: Kiss Me Licia – Il Musical is an ambitious project that brings a cult story to the stage for multiple generations. What was the biggest challenge in adapting the animated series into a live musical?
A: The biggest challenge was staying true to the original series and manga. I often find myself as an audience member, watching adaptations that I think were well done and others that unfortunately were not. As a purist, I care about getting things just right.
Q: The Bible, The Odyssey… and Kiss Me Licia. Why did you choose this particular famous animated series? Is there a character from the series you feel connected to?
A: I chose Kiss Me Licia – Il Musical because there was no existing musical that had taken that path. As a writer, I always strive to create original stories or, at the very least, ones that haven’t been adapted for theater before. This allows me to grow as a writer, have complete creative freedom, and bring my directorial vision to the story. There are no characters in Kiss Me Licia that I identify with, take Mirko from Bee Hive, for example, whom I portrayed on stage. He is my complete opposite. I am neither a star, nor a singer, nor someone idolized by the public like he was. That’s precisely what fascinates me about his character…playing someone so different from myself is much more fun. That’s the beauty of being an actor.
Q: Your directing style in musicals is often parodic. What drives this choice? How does an idea like that come to life?
A: The choice to bring parodies to the stage stems from the fact that today’s audience actively seeks entertainment and fun. Parody, however, is not just about laughter. It also allows messages to be conveyed effectively through comedy, irony, or sarcasm. From an entertainment perspective, it works because the audience knows they are in for something extremely amusing, but in the end, they leave the theater enriched.
Q: Your shows often combine pop culture elements with theatrical tradition. Is there a genre or theme you would like to explore in the future that you haven’t considered yet?
A: The only genre I’ve never explored in theater is thriller, but to take on a thriller, I’d have to return to prose and completely change my approach. I don’t think I want to make that shift, at least not for now.
Q: Our blog is closely tied to Sicily. Have you ever been to Sicily? If so, is there a place that holds a special place in Thomas Centaro’s heart?
A: I have been to Sicily, and if there’s one place that has truly stayed with me, it’s definitely Syracuse. I find it a magnificent city, not only for its history but also for its deep-rooted theatrical tradition. I haven’t been directly influenced by Sicilian culture in a strict sense, but while developing and writing The Odyssey parody, I rediscovered that Polyphemus’ home was in Sicily. So, at least scenographically, the setting was there.
Q: Have you ever thought about setting one of your shows in Sicily or bringing one of your musicals to an iconic location on the island, perhaps in an open-air theater?
A: I’ve never thought about setting a show in Sicily, but it would be wonderful to tour Italy and include the country’s largest island, which remains one of the most magical places in our territory.
Q: Finally, after so many years in the industry, is there an audience feedback that particularly struck you and made you realize the impact of your work on people? Do you still have any dreams left to fulfill?
A: A spectator once wrote to me on social media after The Bible performance, saying that the standing ovation we received felt natural because ‘when the hands couldn’t move, the legs did’. That’s one of the phrases that has stayed with me the most. Or at the end of Kiss Me Licia, one of the most beautiful comments I heard was from a spectator who, looking around, saw only ‘a theater full of grown-up kids…the kids of the ’80s, now adults at least in appearance!’.
Do I have any dreams left to fulfill? Yes, continuing to do my job. Freely, if possible, expanding our audience, and maybe even returning to make some movies like I did when I was 20.
