The Théâtre Raymond Kabbaz is the only venue in Los Angeles that primarily presents French-language program. On Thursday, April 9, 2026, however, the audience was present for the incredible and often hysterically funny R.OSA choreographed by Italian dance artist Silvia Gribaudi and brilliantly performed by Claudia A. Marsicano. Co-sponsored by The Italian Cultural Institute of Los Angeles. It was a much needed distraction from the political climate of today, but it went far beyond just being a diversion.
Marsicano is a heavyset woman, an astonishing mover, actress and comedian. On this night, her comic timing was flawless. She captured the audience during the first few minutes of the show and never lost them. Indeed, they – and I – wanted more.
Claudia A. Marsicano in Silva Gridaudi’s “R.OSA” – Photo by Gianfranco Rota.
R.OSA was a one woman show. It was movement that is recognizable as dance performed exquisitely by a non-dancer. A large woman dressing in what could be described as a teal colored swimsuit, sang “Jolene” by Dolly Parton, subtly performed breakdancing while remaining in one spot, rolled on the floor with rapid grace and hit a pose like a woman soaking up the sun on a Santa Monica beach.
The sub-title to R.OSA was “10 Exercises For New Virtuosities,” with each section labeled as Exercise One, or Two, etc. Right away, Marsicano had ninety-eight percent of the audience up on their feet following her Jane Fonda-esque aerobics class. “Don’t you feel better?” she asked once the audience sat back down. Everyone answered with a resounding “Yes!!”
Claudia A. Marsicano in Silva Gridaudi’s “R.OSA” – Photo by Manuel Cafini.
Marsicano continued to charm as she moved around the stage to music by Johann Sebastian Bach which I recognized as the same as in Part I of Paul Taylor’s 1975 “Esplanade.” Later she amazed everyone with a dance that involved only her face. It was a facial elasticity that rivaled one of her childhood idols, Jim Carry.
Near the beginning, Marsicano explained that rosa translates as pink in Italian, and osa means to dare when referring to females, so R.OSA is she dares.
R.OSA was created specifically for Marsicano by Gribaudi. She took Marsicano’s strengths and expanded them into an hour-long tour-de-force that never once appeared artificial, emotive, or strained. Marsicano played directly to the audience and their responses fueled her artistry. She picked up on individual reactions and improvised on that response. And when she removed the swimsuit to reveal a black two piece outfit that exposed even more of her flesh, the audience loved Marsicano even more.
Claudia A. Marsicano in Silva Gridaudi’s “R.OSA” – Photo by Laila Pozzo.
Silvia Gribaudi is an Italian choreographer and performer. Her website states, “Since 2004 she has been focusing her research on the social impact of the body and on the relation between audience and performer, through an artistic research on choreography, dance and humour. With a specific attention to the human and relational layer, she develops her works through dialogue and the poetic encounter with the artists she collaborates with, the communities and the audience, who become integral part of every performative act.”
Primarily an actress, Marsicano began her theatrical studies at the MTM Grock School of Theatre in Milan and later became a member of the company, appearing in numerous productions. She also studied dance with various teachers, including Gribaudi. Her performance in R.OSA is truly one of physical and vocal virtuosity.
If R.OSA or any of Gribaudi or Marsicano’s work returns to the Los Angeles area, I highly suggest that you go see either one or both of them. You will not be disappointed.
For more information about Silvia Gribaudi, please visit her website.
For more information about Claudia A. Marsicano, please click HERE.
To learn more about Théâtre Raymond Kabbaz, please visit their website.
Written by Jeff Slayton for LA Dance Chronicle.
Featured image: Claudia A. Marsicano in Silva Gridaudi’s “R.OSA” – Photo by Eleonora Radano.
