Jakop Ahlbom’s Lebensraum is a masterful, wordless homage to the silent film era—specifically the kinetic genius of Buster Keaton—blended with a surreal, modern edge. Since its premiere in 2012, it has become a staple of international mime and physical theater festivals, celebrated for its technical precision and unsettling atmosphere. Inspired by the silent and surreal universe of Keaton, Lebensraum is a gem of physical theater by Ahlbom. The show is a perfect comic device: transforming furniture, pinpoint gags, and visions that defy the laws of the stage. I like to highlight the “breakfast scene,” an exacting recreation of Keaton’s The Scarecrow (1920), featuring complex pulleys and a miniature tabletop train. The Buster Keaton Society praised it as a “fantastical display of admiration” that feels live and electric.

The title Lebensraum (German for “living space”) carries a heavy historical weight, but in Ahlbom’s hands, it refers to the physical and psychological constraints of two men sharing a microscopic apartment. The set is a “Heath Robinson” marvel of efficiency: the bed flips up to become a piano, and the bookcase doubles as a refrigerator.

Two men live in a cramped space, transformed into a perfect machine: every piece of furniture conceals a function, every gesture is calculated down to the last millimeter. But something is missing from their orderly life. To fill the void, they create a mechanical doll, which, however, comes to life, with opinions, with willpower. It is the beginning of an uneasy, hilarious, and catastrophic coexistence. To solve the lack of female company and handle the chores, the men construct a mechanical cleaning lady. However, the “doll” quickly develops a mind of her own, and what begins as a slapstick comedy about domestic engineering devolves into a struggle for control as the room—and their sanity—seems to shrink around them.

The band Alamo Race Track (Leonard Lucieer and Empee Holwerda) is an integral part of the performance. Dressed in suits that match the wallpaper, they “blend” into the set before emerging to play a contemporary indie-rock score. Critics have noted that this modern soundscape provides a sharp, effective contrast to the 1920s visual aesthetic.This modern slapstick comedy is accompanied live by the Dutch band Alamo Race Track, that blends the vintage elegance of silent cinema with contemporary rock energy.

The set, designed by Douwe Hibma and Ahlbom, is a playground of illusions where, while special props by Rob’s Propshop create amazing moments that bridge the gap between stage magic and physical comedy.

Direction and concept: Jakop Ahlbom
With: Reinier Schimmel, Jakop Ahlbom, Silke Hundertmark, Leonard Lucieer, Empee Holwerda
Music: Alamo Race Track Production design: Douwe Hibma and Jakop Ahlbom
Makeup: Anabel Urquijo Claveria

At Teatro Menotti , Milan, till 01.05.2026

Click here to buy tickets

Venere Nemica is a theatrical performance that straddles a reinterpretation of the myth and a contemporary monologue, alternating lightheartedness and melancholy with a highly recognizable stylistic signature. Inspired by Apuleius’s fable “Cupid and Psyche,” and directed by Dimitri Milopulos, is a theatrical prose work supported by live music, featuring an unexpected, intense, and cruel repertoire, at times musical.

Written by Drusilla Foer, Venere Nemica reinterprets the myth in a crisp, funny, and moving way, poised between tragedy and comedy, bringing the great themes of the classic to contemporary life: the competition between mothers-in-law and daughters-in-law, fading beauty, maternal possessiveness over their children, and the age-old conflict between men and Gods. The archetypes explored in the play prove disarmingly relevant, made even more evident by the performer’s strong personality shining through in the role of the Goddess, now living among mortal humans.

Venus, Goddess of beauty and love and an immortal creature, still exists: after wandering for centuries, she now lives in Paris—far from Olympus and her capricious and vengeful relatives—and among men, whose mortality she tenderly envies, which forces them to experience emotions, experiences, and feelings. Venus can finally allow herself to be imperfect among humans.

And thanks to her relationship with her mysterious and inseparable maid, almost playfully, at a time when men no longer believe in gods but in heroes, she falls back into the past: into the story of Cupid, the ungrateful and disobedient son, and Psyche, upon whom Venus—as an enemy mother-in-law—unleashes all her resentment as a frustrated Goddess and betrayed Mother. Beautiful moments mixed with anger, sweet memories, controversial characters,,, (including “the American”…)

But in the fierce yet sweet paradox of life that spares no one, not even the Gods, Venus will discover love alongside hatred: an infinite and unconditional love for that wounded son who, fleeing from his beloved, returns to his mother to heal the wounds of his body and soul.

On the one hand, Foer brings her trademark refined, ironic, and at times cutting humor to the stage; On the other hand, deeper reflections emerge on loneliness, the transience of beauty, and the inability to truly love. This balance between lightness and bitterness is often cited as one of the show’s greatest strengths. Her Venus is deliberately over-the-top, but also deeply recognizable, almost everyday in her neuroses and fragilities. However, there are some critical issues.  that point out that the text, while interesting in its premise, doesn’t always manage to maintain the same narrative intensity. At times, it becomes dispersive or less incisive, almost weaker than the protagonist’s interpretative strength.

Actuallu

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From an interpretive standpoint, Drusilla’s stage presence is magnetic: she dominates the stage with elegance, alternating high and low linguistic registers and constructing a complex character, suspended between diva and vulnerable woman.
Two miracles on stage , Drusilla Foer and Elena Talenti 

At Teatro Manzoni, Milan till April 12th, 2026
To get tickets 

Giorgio Madia’s Cenerentola, performed by the Balletto di Milano, at Teatro Lirico Giorgio Gaber, Milan

by Cesare Zucca

This new version of the classic Rossini’ s music became an extremely entertaining show. The lively, rhythmic qualities of Rossini’s compositions are said to enhance both the comedic timing and emotional contrasts of the ballet, featuring the comic trio of stepmother and stepsisters (performed en travesti) that stends up for its originality, humor, and theatrical flair in a “brilliant and ironic reinterpretation” of the classic fairy tale, combining dance with strong elements of visual storytelling and comedy.

The choreography is praised for favoring inventive gestures and theatrical timing over strict classical form, creating a dynamic and engaging experience. Amazing visual creativity, especially the symbolic costume design—such as Cinderella’s dress blending into the wallpaper to represent her marginal status, mixed to comic scenes, which make the performance accessible to a wide audience.

The staging of the carriage scene—with “human horses” and exaggerated theatrical elements—is singled out as particularly inventive and memorable. The lively, rhythmic qualities of Rossini’s compositions are said to enhance both the comedic timing and emotional contrasts of the ballet.

In the title role are Annarita Maestri and Sinthya Pezzoli, both accompanied by the elegant Prince Haruto Onoda. The travesti trio of Stepmother/Stepsisters is played by Alessandro Orlando, Jack Farren, and Mattia Imperatore. The cast is completed by Alessia Sasso and Sofia Gironi, alternating in the role of the fairy; Gianmarco Damiani and Gabriel Hadi are the two lackeys.

Cenerentola by Balletto di Milano a fresh, witty, and visually rich production—ideal for audiences seeking an engaging and modern take on a timeless fairy tale.

Teatro Lirico Giorgio Gaber till MARCH 22th
To buy tickets

Sbarca al teatro Manzoni di Milano A qualcuno piace caldo versione teatrale italiana del celebre film Some Like It Hot, capolavoro cinematografico firmato da Billy Wilder con Marilyn Monroe, Tony Curtis e Jack Lemmon

by Cesare Zucca

“50 Years” is an anniversary stage production by the Swiss visual theatre company Mummenschanz, created to celebrate five decades of their unique, wordless performance art.

Founded in 1972 by Floriana Frassetto, Bernie Schürch, and Andres Bossard, To mark the anniversary, Floriana Frassetto has devised a production that takes the public on a 50-year journey taking a look back at the most popular, most successful productions of years gone by.

On stage come back to life legendary characters such as the Clay Masks and the Toilet Paper Faces.

The show also hosts appearances by the delicate, air-filled Giants, the Pipe Creature and plenty of other bizarre objects and shapes brought to life by and transforming ordinary materials—paper, clay, wire, tubes, and fabric—into poetic, humorous, and often surreal stage characters.

MUMMENSCHANZ This fantastic journey is lively, humorous, full of affection and brimming with imagination.

at Teatro Menotti till Feb 22th 2026
Here to get Teatro Menotti tickets
https://www.teatromenotti.org/home/evento/50-years-mummenschanz.aspx

Here “5O Years” Tour

Carmen, the acclaimed production by the Balletto di Milano, performed at the Teatro Lirico Giorgio Gaber (Via Larga 14, Milan).

Carmen is one of the most iconic figures in the history of opera: beautiful, unconventional, and fiercely passionate, she embodies a free and untamable femininity. The Balletto di Milano celebrates her legend with a powerful neoclassical reinterpretation that blends emotion, energy, and outstanding technique.

This company’s Carmen blends tradition and contemporaneity: it draws inspiration from Mérimée’s novella and Bizet’s opera, yet allows room for a modernized, neoclassical staging. The production is enhanced by sharp choreographic dynamics and a symbolic use of gesture and imagery — such as the red pointe shoe, which powerfully foreshadows the protagonist’s tragic fate.
The balance between tradition and innovation is considered one of the production’s strengths. It is not a radical rewriting of the story, but rather an interpretation that seeks to restore emotional intensity and vigor to a classical narrative.

With her irresistible vitality, Carmen uses her charm and bold personality to challenge every boundary and live entirely on her own terms — something I truly admire about this character and how the company portrays her. Yet her unwavering devotion to freedom and independence leads to a tragic finale: she is killed by Don José, a man incapable of accepting her rejection. Sadly, this theme remains painfully relevant today. The ballet addresses it with striking force through the symbol of the red pointe shoe placed at the feet of the lifeless heroine — a powerful and deeply moving image.

Through intense pas de deux, captivating choreography, and vibrant ensemble dances featuring gypsies, soldiers, and cigarette girls, the production retraces the story of the rebellious gypsy. Particularly powerful are the moments of heightened drama, such as Carmen’s inner duel with Fate — evoked through the symbolic cards of love, betrayal, and death — and her passionate love for Don José, who abandons all certainty for her. Equally unforgettable is her encounter with Escamillo, the charismatic toreador, in a crescendo of sensuality and rhythm that is simply electrifying on stage.

Some performances connected to the production have also been conceived as social reflections on female autonomy and on themes of control and violence, encouraging a deeper reading of the symbolic language and choreographic choices.
Personally, I find this interpretative layer particularly relevant today, as it frames Carmen not just as a passionate heroine, but as a woman asserting agency within a restrictive society.

Directed by Agnese Omodei — who also co-signs the choreography with Federico Veratti — with set design by Marco Pesta and rich, stylized costumes, the production blends seamlessly with the celebrated music of Georges Bizet,

A great cast
Fate: Alessandro Orlando
Carmen: Giusy Villarà
Don José: Mattia Imperatore
Micaela: Annarita Maestri
Escamillo: Gianmarco Damiani
and the full company of the Balletto di Milano

Enjoy the video
https://www.dropbox.com/scl/fo/kckt9ip64dnyh746rbzgy/h?dl=0&e=1&preview=Mini_Trailer_CAR.mp4&rlkey=vcffs6icvdwrku197oxdt5pr7

by Cesare Zucca

Sherlock Holmes – The Musical is a fully Italian production inspired by the adventures of Sir Arthur Conan Doyle’s legendary detective. Starring Neri Marcorè as Sherlock Holmes and featuring a cast of over 20 performers, it is an ambitious stage production that blends mystery, music, and period atmosphere.

Neri Marcorè is an Italian actor, comedian, impersonator, voice actor, and television personality, widely admired for his versatility and intelligence. He first gained national popularity in the 1990s through television, especially for his brilliant impersonations on shows such as Mai dire Gol and Quelli che il calcio, where his ability to capture voices, gestures, and psychology stood out. In cinema, he has appeared in films like Il cuore altrove, Il caimano (directed by Nanni Moretti), La seconda notte di nozze, and Gli anni più belli, Maria, among others-
Neri Marcorè has won prestigious film awards, including a Nastro d’Argento in 2003 for Best Actor and the Flaiano Award in 2024 for Zamora’s direction. He also received a Ciak d’oro Cult Award for Lifetime Achievement in 2024 and nominations for a David di Donatello Award (The Italian Oscar)

Set in Victorian London in 1897, the story begins five days before Queen Victoria’s Jubilee. Holmes, disenchanted by the lack of worthy opponents after Moriarty’s death, is drawn into an new case: a murdered man leaves behind a series of cryptic clues that point to a deadly plot planned for that day. In a race against time filled with secrets, deception, and danger, Holmes and his loyal Watson must unravel a conspiracy that threatens all of London.
The sets, costumes, and lighting are highly evocative, successfully recreating Victorian London and providing striking visual impact that fully engages the audience.
Neri Marcorè steps confidently into a new genre, bringing strong personality and depth to the role. His performance is particularly compelling in the musical numbers, where he conveys the emotional and intellectual complexity of Sherlock Holmes with notable effectiveness. The orchestral score and dynamic ensemble numbers are captivating and deliver several standout moments of spectacle.

Andrea Cecchi’s direction is solid and attentive, though the show could benefit from a slightly sharper pace in certain sections, with a more balanced interplay of tension, humor, and action. The overall cast is excellent, with Francesca Ciavaglia (Molly O’Neill) standing out in particular. Packed with intrigue, mysteries, and clever twists, the show is set in the evocative world of Victorian London, where good and evil collide.Between loyalty, love, and looming danger, the destiny of England hangs in the balance at 221B Baker Street.
Sherlock Holmes: The Musical seamlessly weaves suspense, humor, and action into a story that will resonate with audiences worldwide.
At Teatro Nazionale, Milano till Feb 01
Here to buy tickets
https://teatronazionale.it/acquista-online/

You will discover a Queen Elizabeth I of England never seen before: determined and modern, a woman who articulates and defends her choices—especially her decision not to marry and not to have children. In a deeply patriarchal society, Elizabeth embodies the self-awareness of a woman of today. The queen who gave her name to an era ascends the throne and holds power for forty-four years with refined cunning and intelligence.

What most strongly emerges from the figure of this singular queen is a legacy capable of transcending her own time, marking a definitive turning point in royal succession and, at the same time, establishing a model of power that would never have an equal. Yet, more than highlighting the features of the historical figure, what appears most compelling is to understand the effects that this model continues to exert on our own era today.

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“I Promossi Sposi” is the latest show by the “en travesti” historic Italian dialect theatre company I Legnanesi, touring theatres across Italy in the 2025/2026 season. I Legnanesi once again prove their importance in Italian dialect theatre, staying true to their traditional style with sharp comedy, strong pacing, and well-crafted scripts.The comedy centers on the Colombo family, the iconic characters of I Legnanesi: Teresa ( Antonio Provaso) Giovanni ( Italo Giglioli)  and the flamboyant daughter Mabilia ( Enrico Dalceri)

The story kicks off when a visibly shaken Giovanni announces a shocking discovery: due to a bureaucratic mix-up in the town hall records, it turns out that he and Teresa may never have been legally married. This misunderstanding sets off a chain reaction of mix-ups, twists, and classic gags, all in true Legnanesi popular-comedy fashion.
With humor, warmth, and music, the show explores the theme of love—suggesting that real affection matters more than a signature on a piece of paper.
I Promossi Sposi tackles universal themes such as love, identity, and family bonds, using humor and dialect to connect with audiences The show is able to combine popular comedy with moments of everyday poetry, making it enjoyable both for fans of tradition and for those looking for something more thoughtful.

A surprising “finale” 
As tradition dictates, in the grand finale the entire cast, actors and dancers, come on stage ” in a man outfit” to thank the audience as one, amid applause and heartfelt emotion.

Teatro Manzoni in Milan till February 22, 2026
To buy tickets
TicketOne
Teatro Manzoni 

Dal 2 al 6 gennaio il Teatro Menotti di Milano ospita IL CLOWN DEI CLOWN, il one man show di David Larible, considerato dalla stampa internazionale “il più grande clown classico del nostro tempo”.Larible si è esibito nei principali circhi italiani ed europei e ha lavorato a lungo negli Stati Uniti con il celebre “Ringling Bros. and Barnum & Bailey”, dove è stato il primo clown nella storia ad apparire come star della pista centrale, guadagnandosi il soprannome ufficiale di “Clown of Clowns”. David ha vinto numerosi premi prestigiosi, tra cui il Clown d’Argento (1988) e il Clown d’Oro al Festival Internazionale del Circo di Monte-Carlo (1999), il premio più importante nel mondo circense

Il suo show Il Clown dei Clown scritto, diretto e interpretato da David Larible, con Andrea Ginestra e accompagnamento musicale dal vivo del M° Mattia Gregorio.
Ho scoperto un one-man show poetico, comico e profondamente umano,
La storia racconta di un umile uomo delle pulizie di un teatro che, con innocenza e tenacia, sogna di diventare un clown capace di dirigere un’orchestra o una versione teatrale di Romeo e Giulietta. In punta di piedi e con gesti semplici trasforma la scena in un’esplosione di risate, emozioni e poesia.

Con un incredibile “fiuto per l’arte” David scende tra il pubblico e sceglie i prossimi protagonisti , che assolutamente ignari di cosa possa succedere, vengono portati sul palco pe diventare gli “animatori” trasformandosi in volonterosi musicisti, attori, ballerini  tutti diretti dal Maestro Larible,,,Regalandoci autentici momenti di buonumore,

Uno spettacolo poetico ed esilarante, capace di parlare a pubblici di tutte le età, che riassume in scena l’arte di uno dei più grandi protagonisti della clownerie mondiale, tra tradizione circense, visual comedy e teatro popolare. Lo spettacolo fonde gag visive, musica dal vivo (con brani lirici e classici) ed elementi di commedia dell’arte,

E’ stato rappresentato in oltre 250 repliche in teatri prestigiosi in tutto il mondo, da Venezia a Mosca fino al Teatro Menotti di Milano fino al 6 Gennaio 2026

Il “Maestro Larible” al naturale…

Per prenotare:
https://www.teatromenotti.org/evento/il-clown-dei-clown-.aspx

Il Clown dei Clown in tour

9 gennaio – Aosta, Teatro Splendor

11 gennaio – Muggia, Teatro Verdi

13 gennaio – Lignano Sabbiadoro – Cinecity

14 gennaio – San Daniele del Friuli – Auditorium alla Fratta

15 gennaio – Artegna – Teatro Monsignor Lavaroni

16 gennaio – Zoppola – Auditorium Comunale

17 gennaio – Lestizza – Auditorium Comunale

(English version followed by the Italian version)

An ambassador of Italian dance through its extraordinary performances around the world, Balletto di Milano (BdM) is regarded as one of the leading artistic companies. It is supported by the Italian Ministry of Culture and collaborates with the most prestigious theatres. The Company has been officially invited to take part in the 7th China International Ballet Season, a major showcase of international ballet currently taking place in Beijing at the Tianqiao Theatre.

Ambasciatore della danza italiana attraverso le sue straordinarie performance in tutto il mondo, il Balletto di Milano (BdM) è considerato una delle compagnie artistiche più importanti. È sostenuto dal Ministero dei Beni e delle Attività Culturali e collabora con i teatri più prestigiosi.

La Compagnia è stata ufficialmente invitata a partecipare al 7° China International Ballet Season, importante vetrina del balletto internazionale che si sta svolgendo a Pechino presso il Tianqiao Theatre. Questo invito conferma ancora una volta la rilevanza e la vocazione internazionale del Balletto di Milano, chiamato ad esibirsi su prestigiosi palcoscenici nel mondo accanto a importanti compagnie da ogni continente.Eleganza, qualità artistica e grande cura estetica confermano ancora una volta lo stile della Compagnia. Le scenografie di Marco Pesta amplificano la magia della produzione: dal salone di ispirazione Art Déco, lo spettatore viene guidato in un bosco incantato, dove luci e atmosfere rarefatte trasformano la scena in un vero sogno. Il viaggio culmina in un salone fiabesco dedicato al divertissement, in un’esplosione di eleganza e fantasia.
In scena tutti i primi ballerini e solisti del Balletto di Milano a partire da Alessandro Orlando, tra i danzatori più affermati e rappresentativi della Compagnia, che vestirà i panni di Drosselmeir, figura cardine del balletto. Si alternerà con Francis Morgan, giovane talento inglese neo diplomato alla prestigiosa Elmhurst Ballet School.

Sensibile, raffinata e tra le danzatrici di punta del Balletto di Milano Annarita Maestri, torna come Clara, mentre è al suo debutto Sinthya Pezzoli, già apprezzata come Cenerentola e Micaela in Carmen. Debuttano anche Sofia Gironi e Giusy Villarà, entrambe ballerine dalla tecnica solida e dalla forte presenza scenica, scelte per il ruolo della Fata Confetto. Per il ruolo del Principe il Balletto di Milano accoglie per la prima volta in Italia il ventenne armeno Pavel Petrosyan che si alternerà con Gianmarco Damiani.

“Lo Schiaccianoci” del Balletto di Milano si presenta come un appuntamento imperdibile delle festività natalizie, capace di incantare il pubblico di ogni età grazie a una visione elegante e profondamente poetica del grande classico di Čajkovskij.

LO SCHIACCIANOCI 

Ideazione: Carlo Pesta
Coreografia: Federico Veratti/Agnese Omodei Salè
Scenografia: Marco Pesta
Costumi di Agnese Omodei Salè / Mario Ferrari / Fabrizio Marinello

Teatro Lirico Giorgio Gaber
Indirizzo: Via Larga, 14, 20122 Milano MI
https://teatroliricogiorgiogaber.it

Balletto di Milano
Info: biglietteria@ballettodimilano.com
https://ballettodimilano.com

by Olli Cibrario

I saw Brokeback Mountain: A Play with Music last night at Teatro Carcano, and the production left a strong impression – so much that I thought about it all night. Bringing such an iconic story to the stage — already shaped in the public imagination by Annie Proulx’s short story and Ang Lee’s film — is a bold move, especially for a conservative Italian audience.

At the centre are the two leads, Edoardo Purgatori as Ennis Del Mar and Filippo Contri as Jack Twist. Their performances anchor the whole evening. Purgatori gives Ennis a brooding, internalised energy — a man wrestling with desires that define him as much as they terrify him. His restraint feels charged and painfully real. Contri’s Jack, by contrast, is all warmth, openness and restless longing. Together, they build a chemistry that is tender, volatile, and definitely convincing, allowing the audience to feel both the love and the inevitable suffering embedded in their story.

If the actors drive the narrative, Malika Ayane gives it breath. She doesn’t just sing; she colours the emotions, shaping the atmosphere with her warm, smoky voice. She becomes the emotional through-line of the show — the sound of longing, loneliness, and memory echoing across the mountains. Each time she enters, the air shifts: more reflective, more textured, more alive. Her presence lifts the entire production, giving it a haunting, lingering resonance.

The staging is intentionally minimal: clean lines, subtle video projections on mountain-shaped screens, and a set that refuses to compete with the emotions onstage. This simplicity pays off. It keeps the human story in focus and lets the music expand and breathe. The result is a production that honours the original without imitating it. It finds its own tone — quieter, more distilled — and explores desire, fear, and endurance through voice, movement, and song.

Brokeback Mountain: A Play with Music isn’t just a theatrical adaptation. It’s a compact, affecting meditation on love constrained by circumstance, powered by two compelling performances and illuminated by Malika Ayane’s unforgettable voice. A moving, beautifully judged piece of theatre.

DECEMBER
Milano – Teatro Carcano (10,11, 12, 13, 14

Genova – Teatro Ivo Chiesa (16

Altopascio (LU) – Teatro Puccini (17

Vicenza – Teatro Comunale (20/21

Reggio Calabria – Teatro Cilea

Cosenza – Teatro Rendano

JANUARY
Montegiorgio (FM) – Teatro Alaleona (6

Faenza (RA) – Teatro Masini (7, 8, 9

Figline Valdarno – Teatro Comunale Garibaldi (10-11

Rosignano Solvay (LI) – Teatro Solvay (12

Roma – Teatro Quirino (13, 14, 15, 16, 17, 18

TO GET TICKETS 

CIRCLES  (IL VIAGGIO DEI GIOCHI)  (THE JOURNEY OF THE GAMES)

The performance is a tribute to the upcoming Milan–Cortina 2026 Winter Olympic Games. Through the voice of a time-traveling narrator, it tells a sweeping story of humankind and the mountains, of sport and play — a journey that begins in the ancient world and stretches all the way into the future, where freestyle is born.

CIRCLES is a vibrant whirlwind of intricate choreography that taps into the primal athletic soul of the Kataklò company, delivering a powerful visual and emotional impact. The storytelling unfolds through dialogue and dynamic interaction among the performers, whose physical brilliance merges seamlessly with the spoken word to create a continuous, immersive flow.

From the cave man to the birth of the modern Olympics, from the awe of an unscalable mountain to its transformation into a sentient, soulful being — the world evolves. The mountain becomes a sister, an ally in exploration, and opens itself to the new generations who infuse it with color, creativity, and fresh ideas.

The show is conceived by Jacopo Pozzi and is choreographed and directed by Giulia Staccioli — former rhythmic gymnastics champion and Olympic finalist at Los Angeles ’84 and Seoul ’88. After her competitive career, Giulia moved to New York to study dance at the Alvin Ailey Studios, where she joined the acclaimed American company Momix.

For the Opening Ceremony of the 2006 Turin Winter Olympics, she created and choreographed the iconic Five Rings, brought to life by the tireless performers of Kataklò Athletic Dance Theatre.

November 14–16
Teatro Carcano, Milan
Tickets: www.teatrocarcano.com

By Cesare Zucca
(english and italian version)

Chicos Mambo, the world-famous dance company founded in1994 in Barcelona and directed by visionary choreographer Philippe Lafeuille, knows how to turn dance into a full-on celebration for the eyes and the spirit able to “turn dance into comedy.”

Lafeuilles’s Cinderella is the dazzling new take on Charles Perrault’s beloved fairy talw and draws inspiration from Serge Prokofiev’s classic Cinderella ballet with a wild mix of dance, humor, and environmental awareness.

The concept is simple yet powerful: transforming plastic waste and discarded materials into sets, costumes, and bodies in motion. A new Cinderella’s world with recycled plastic and upcycled materials used for costumes and scenery. A big round of applause for the amazing costumes by Corinne Petitpierre, created using recycled plastics, think bags, bottles, colorful scraps.One standout: a breathtaking ball gown made from thousand of multicolored plastic bags.

A green message
Here the heart of the fairy tale — Cinderella becoming a princess, the pumpkin turning into a carriage — takes on an ecological twist: waste becomes wonder, and the dump turns into a kingdom. Recycled plastic isn’t just set dressing — it’s an active part of the act. In this brilliant “eco-Cinderella,” our heroine doesn’t rise from a pumpkin — she steps out of a yellow recycling bin. It’s a flipped world where plastic turns into tutus, trash becomes treasure, and stage magic meets environmental reflection.

Lafeuille builds a poetic, tongue-in-cheek choreography where transformation becomes a playful dance of rebirth and sustainability. To the notes of Prokofiev, six male dancers perform en travesti, blending theatre, dance, and humor in a show that’s both hilarious and deeply touching

THE CAST
Antoine Audras, Florent Chevalier, Emmanuel Dobby, Mohammed Kouadri, Stéphane Vitrano, and Philippe Mesia are all excellent acrobats, mimes, and singers who seamlessly move from classical ballet to contemporary dance, cabaret, and visual theatre.

With Cinderella, Lafeuille delivers a creation that’s both tribute and parody, fairy tale and eco-manifesto. A dazzling ballet that turns lightness into purpose and imagination into an ethical act — reminding us that even dreams, like materials, can be recycled.

Till November 11th at Teatro Menotti, Milano
www.teatromenotti.org  

To get tickets:
biglietteria@teatromenotti.org

( versione in italiano)

Chicos Mambo, la celebre compagnia internazionale fondata nel 1994 a Barcellona, e diretta dal coreografo Philippe Lafeuille, artista visionario capace di trasformare la danza in una festa per gli occhi e per lo spirito. Fin dagli esordi, i suoi spettacoli hanno conquistato il pubblico europeo con un linguaggio che unisce tecnica impeccabile, ironia teatrale e fantasia scenica.

I danzatori, tutti formati tra le migliori scuole di Francia e Spagna, sono artisti “totali”: attori, acrobati, mimi e cantanti, capaci di passare con naturalezza dal balletto classico alla danza contemporanea, dal cabaret al teatro d’immagini

La sua Cenerentola è una sorprendente reinterpretazione della celebre fiaba di Charles Perrault, che mescola danza, ironia e impegno ambientale.
L’idea di base è semplice ma potente: trasformare rifiuti plastici e materiali di scarto in elementi scenici, costumi e corpi in movimento, ribaltando il concetto tradizionale di “favola” in chiave contemporanea e critica.

I geniali costumi create da Corinne Petitpierre, sono in gran parte realizzati con plastica riciclata — sacchetti, bottiglie, materiali colorati — e diventano non solo abiti, ma pure “personaggi” in scena. In un caso, il vestito da ballo è un mantello fatto con migliaia di sacchetti colorati.

In questa sorprendente versione “green” della fiaba di Charles Perrault, Cenerentola non emerge da una zucca, ma da una pattumiera gialla. È il segnale di un mondo rovesciato, dove la plastica riciclata diventa tutù, il rifiuto si fa costume, e la magia del palcoscenico si intreccia a una riflessione sul nostro presente.

Lafeuille costruisce una coreografia poetica e ironica in cui la metamorfosi — tema centrale della fiaba — si trasforma in un gioco danzato di rinascita e sostenibilità.Sulle note del balletto di Prokofiev, sei interpreti – Antoine Audras, Florent Chevalier, Emmanuel Dobby, Mohammed Kouadri, Stéphane Vitrano e Philippe Mesia – danno vita a una coloratissima discarica immaginaria, dove tutto cambia forma e significato.

Tra costumi interamente realizzati con materiali di recupero, luci scultoree e gesti che alternano comicità e poesia, lo spettacolo invita a guardare la bellezza dove meno ce l’aspetteremmo. Con Cenerentola, Lafeuille firma una creazione che è insieme omaggio e parodia, fiaba e manifesto ecologista.

Un balletto travolgente che trasforma la leggerezza in impegno e l’immaginazione in gesto etico, ricordandoci che anche i sogni – come i materiali – possono essere riciclati.
Da vedere !

• 
  Fino al 11 Novembre al
  Teatro Menotti, Milano
  Sito: www.teatromenotti.org
• Dove comprare i biglietti
   biglietteria@teatromenotti.org

By Cesare Zucca ( italian and english versions)

Get ready to embark on a breathtaking journey through the most iconic worlds of the American director Tim Burton!

Where?
At Teatro Menotti , Via Ciro Menotti 11, Milano
The Nightmare Before Christmas, Beetlejuice, Edward Scissorhands, Corpse Bride, Alice in Wonderland, Willy Wonka, and more…. are waiting for you !

From October 31st to November 3rd at the Teatro Menotti, Milan, The Spleen Orchestra – Tim Burton Show will be staged. It is a hybrid project between concert and immersive theatre, created to pay homage to Tim Burton’s visionary universe through the music of Danny Elfman, rearranged and reinterpreted, rearranged and played by an exceptional four-piece band, all supervised by Moreno Teriaca who has been following the evolution of the project for 16 years

Each part of the concert is crafted as a scene: the singers — through costume changes, choreography, acting, video projections, and themed sets — step into the film inspired by each song.

The talented cast includes:

• Moreno Teriaca — lead vocals
• Niccolò De Santis — vocals and narration
• Giorgia Borlotti — vocals
• Davide Ceiner — drums
• Simone Pirovano — bass
• Carlo Fontana — guitars
• Daniele Bettini — piano

Special mention goes to the intricate makeup by Daria Bonini and the perfectly crafted costumes by Alessandra Marina and Chiara Turati.

Step into a true freak circus celebrating the Tim Burton imagination — a gothic fairytale atmosphere where you’ll be immersed in a “place out of time”, surrounded by hand-made costumes, elaborate stage sets, and special effects that bring every musical transformation to life.

🎟 Tickets:
📧 biglietteria@teatromenotti.org

Incoming shows

●1-2 Novembre teatro Menotti
●8 Novembre Teatro Govi di Genova
●7 Dicembre QHub di Milano
●19 Dicembre Palaunical di Mantova
●31 Dicembre Palazzetto dello sport di Seregno Milano
●20 Febbraio Palapartenope di Napoli

To get tickets

( Italian version)

Preparatevi ad avventurarvi in un viaggio scenico tra i mondi più noti del regista americano Tim Burton
Nightmare Before Christmas, Beetlejuice, Edward mani di forbice, La sposa cadavere, Alice in Wonderland, Willy Wonka e altri.

Dal 31 Ottobre al 3 Novembre al Teatro Menotti, Milano va in scena The Spleen Orchestra – Tim Burton Show è un progetto ibrido tra concerto e teatro immersivo, nato per rendere omaggio all’universo visionario di Tim Burton attraverso le musiche di Danny Elfman, riarragiate e reinterpretate, riarrangiate e suonate da un’ eccezionale band di quattro elementi , il tutto supervisionato da Moreno Teriaca che segue l’evoluzione del progetto da 16 anni.

Ogni segmento del concerto è pensato come una “scena”: i cantanti, con cambi di costume, coreografie, recitazione, proiezioni video e scenografie a tema, entrano “nel film” evocato dal brano mentre sul palco può esserci la comparsa di una figura che recita o “interagisce” con il protagonista.

Nell’agguerrito cast troviamo:

• Moreno Teriaca — voce principale
• Niccolò De Santis — voce e narrazione
• Giorgia Borlotti — voce
• Davide Ceiner — batteria
• Simone Pirovano — basso
• Carlo Fontana — chitarre
• Daniele Bettini — pianoforte
• Menzione speciale agli elaborati make up di Daria Bonini e agli azzeccatissimi costumi di Alessandra Marina e Chiara Turati

• Scoprirete un vero circo freak all’insegna dell’immaginario Timburtonesco» con atmosfere gotico-fiabesche per immergervi in un “luogo fuori dal tempo”, grazie a scenografie elaborate, costumi fatti a mano ed effetti speciali che accompagnano le evoluzioni musicali

●1-2 Novembre teatro Menotti.
Per acquistare i biglietti
biglietteria@teatromenotti.org
https://www.teatromenotti.org/evento/tim-burton-show.asp
Prossimamente
●8 Novembre Teatro Govi di Genova
●7 Dicembre QHub di Milano
●19 Dicembre Palaunical di Mantova
●31 Dicembre Palazzetto dello sport di Seregno Milano
●20 Febbraio Palapartenope di Napoli

Get tickets here

By Cesare Zucca
A group of great musicians has been assembled by director Marco Rampoldi to celebrate the half-century of The Dark Side of the Moon returns to the stage for the fiftieth anniversary of Wish You Were Here, another Pink Floyd masterpiece

The result is a complete theatrical-musical show that will captivate a diverse audience.
I will be an amazin occasion to celebrate the 50th anniversary of a Pink Floyd masterpiece and the genius of Syd Barrett, played by Matteo Pisu.

Rampoldi’s Wish You Were Here is a richly immersive theatrical-musical tribute to one of Pink Floyd’s most celebrated albums, combining live music, narrative theatre, and visual storytelling in a way that reaches both longtime fans and newcomers alike Visually and sonically, the show is built to bring out not only the album’s musical textures and lyrical power but also its emotional and psychological dimensions. There are original film clips, subtitled (in Italian) translations of lyrics, evocative lighting, and staging choices to deepen the audience’s understanding of what the songs say and represent.

The effect is both homage and exploration: a way to relive the album, understand its genesis, feel its tribute to Barrett, and appreciate how its themes—absence, identity, loss—still resonate today. The production appeals equally to those who grew up with the music and to new listeners opening these songs afresh.

The show is based on the album’s entire performance but also features snippets of Barrett’s relationship with the rest of the band, boasting a complete musical-theatrical show, allowing those unfamiliar with Floyd’s masterpiece to discover its greatness and those who loved it to appreciate new aspects. Original footage containing complete translations of the lyrics allows a full understanding of its meaning. Around the album, some gems from the “Barrett era” are performed, as well as the band’s unmissable masterpieces, for a show that will thrill every viewer.

On stage: Pietro Bombardelli – vocals, Antonio Mariano and Fabio Malavolta – guitars, Simone Mauro Ghilardi – keyboards and vocals, Luca Corbani – bass, Matteo Rampoldi – drums, Filippo Cadringher – saxophones and Sara Cosco, Lorenza Guatteri, Lara Mandelli – backing vocals
I also would like to mention the amazing lights by Davide Gamba and Andrea Lisco

Tuesday, October 28, 8:30 PM
Teatro Lirico Giorgio Gaber, Milano
Click here to get tickets