To be doozy is an American colloquial expression of uncertain origin. It may refer to a flower, the daisy (from daisy in English); it may recall a luxury brand of sports cars (Dusenberg); or—our favorite option—it may pay homage to the divine actress Eleonora Duse, whose Italian surname was awkwardly pronounced overseas: “Doozay,” “Doozee,” “Doosay.” To be a doozy means to be astonishing, out of the ordinary, so peculiar as to leave others speechless. Exceptionally good or exceptionally bad—in simple words: odd. To be or not to be? To be, because in our opinion, it’s a compliment. With this conviction at heart, we dedicated ourselves to creating a show difficult to label, inspired by the artistic and human revolution of two heroines who lived for and in dance, for and in theater. The biographies of Isadora Duncan and Eleonora Duse are a passionate workshop of narrative and political ideas. Through their unconventional lives, they became pioneers of feminism, female leadership, and an art engaged with the present. These Doozies without makeup, without pointe shoes, often deemed physically nonconforming to the aesthetic canons of their time—thanks to their natural originality, generated wonder and amazement, leaving immense legacies to future generations. Where are these legacies, we asked ourselves, since, more than a century later, we still face the same struggles on and off stage: the same battles for equality, for fair pay, against the dictatorship of the physique du rôle and stagnant repertoires? The Doozies aims to be a work about the marvel of strangeness. We are convinced that our astonishing ancestors would have appreciated this boldness, since they constantly took a stand against the status quo—even when it was classical and mythical.