Pietro Garinei and Sandro Giovannini - one a pharmacist, the other a law graduate - met at the editorial desk of the "Corriere dello Sport", for which both worked as external correspondents. Having set up the humourous weekly "Cantachiaro" in 1944, they shortly afterwards decided to create a show by the same title, with the backing of Remigio Paone, essentially a political satire. Thanks to the presence of Anna Magnani, a young Alberto Sordi and many other artists, the popular success was almost immediate: and the same success was achieved by "Soffia so'" (1945, once again with the formidable Magnani), that led to heated disputes of a various nature and even managed to cause a few brawls due to its supposed reactionary content.These were the first steps in the career of one of the most celebrated duo of Italian theatre, who can honestly claim to have "invented" the concept of an indigenous musical comedy: performed in twenty countries and translated into 18 languages, their scores travel as far as Broadway, one of myths of the historic couple. For example "Al Grand Hotel" (1948) a scintillating review in which the legendary Wanda Osiris used to descend the equally legendary staircase singing "Sentimental" is clearly inspired by the United States. Yet their original concept of show reaches a clearer form with the three comedies "Attanasio the vain horse (Attanasio cavallo vanesio)", "Alvaro quite a pirate (Alvaro piuttosto corsaro)" and "Toby the candid spy (Tobia candida spia)" written from 1952 onwards, thanks in part to the performance provided by the rising star Renato Rascel, the sets and costume by Giulio Cortellacci and the magical songs by Gorni Kramer, that were fated to remain popular for a long time, often performed by the Quartetto Cetra. From here on in the number their successes are countless: G & G can even afford the luxury of unhinging the customary concept of soubrette by presenting the overwhelming and precocious Delia Scala who, in "Double breasted Jupiter (Giove in doppiopetto)" (1954), makes a great team with Carlo Dapporto, only to repeat the success beside Walter Chiari in "Goodnight Bettina (Buonanotte Bettina)" (1956-57).Having established their temple, the Teatro Sistina in Rome, the two of them continue to pull off extraordinary results: "A pair of wings (Un paio d'ali)" (1958) with Rascel and Giovanna Ralli, "A tangerine for Teo (Un mandarino per Teo)" (1960) with Chiari and Sandra Mondaini, "Rinaldo on the field (Rinaldo in campo)" (1961), with Domenico Modugno and Delia Scala, the extremely well received "Rugantino" (1962-1963, often restaged over the years) with Nino Manfredi and Lea Massari, "Ciao, Rudy" (1964), enlivened by Marcello Mastroianni in the guise of Rudolf Valentino, right up to "Aggiungi un posto a tavola (English title: Beyond the Rainbow)" (1974-75-76, also restaged many other times) with Johnny Dorelli, the discreet fable reminiscent of Frank Capra about a possible second universal deluge, success follows success, until they are finally consecrated as major figures of the Italian 19th century theatrical and cultural scene.Francesco Troiano