Pericles is a comedy with elements of thriller and adventure, a fairy tale equally relating to children and to adults. When Pericles brings salvation (in form of corn sacks) to Tarsus, there starts a Neapolitan song and dance, with the actors basking in flour and making pastry, resulting in pizza that they actually share with the audience. Gower, the narrator, tells us what will follow and summarises what preceded in witty rhymes and interacts with the actors, sometimes choosing a wrong one for the given role. Like a comedy of humours, with the Tarsus royal couple elegantly mocked and Helicanus, the sage of Tyre, resting on the laurels of his old reputation, senile and pessimistic as ever, not having anything smart to say and actually do his job (advise Pericles). When Thaissa rises from the dead, in Diana’s temple, everybody faints with amazement and then they are impatient to stand up, waiting for Gower’s endless speech to finish and finally kicking him off of the stage. Marina is the torch of the whole play, bright and quick, clever and outspoken, not meek and tender like a typical Shakespearean heroine.