When Macbettu staged at the Triennale Milano Theatre during last year's season, tickets went like hot cakes in no time at all. Throughout the period, before and after the performance, the entire Milano theatrical undergrowth did not speak of anything else, so much so as to instill envy to the interested parties who failed to grab the ticket in time. It may be for this reason, or perhaps because the current Triennale Milano Teatro Season is inspired by classical theatrical recipes seasoned with a hint of contemporaneity, which returns Macbettu. Before watching it, it is better to go back to the original Macbeth but, beyond the plot, the staging, the directorial ability, the references to the Sardinian land (Serra's original home) are in effect the show real attractions. The most prominent elements of this Elizabethan theatre masterpiece revisitation are language, set design and sounds. Sardinia is everywhere: in bells, in Dionysian dimension, but above all in idiom. The dialect is the medium that actors use to interact among each other, a music or rather a score of sounds that writes the work dramaturgy. The show, which has already been performed around the world, returns to Milan to reconsecrate the Triennale stage and enrich it with the amazing suggestion that remains in the eyes and ears after Alessandro Serra’s show.