by Cesare Zucca

( English text followed by Italian version)

I’ve been following NoGravity for years, and they always manage to bring something new and captivating to the stage each season. But their new production, AVANGARD, the show that debuted tonight Teatro Menotti, Milano, completely blew me away.
Directed with his signature brilliance, Emiliano Pellisari has crafted countless moments of sheer beauty and sublime harmony.

On stage, six powerhouse performer-acrobats—true dancer-athletes—move beneath an overhead camera that captures their every motion, projecting it live onto a massive screen. Clad in nude-effect costumes, they execute movements that are fluid, effortless, and astonishingly precise.

The imagery ranges from breathtaking moments of weightlessness to a cheeky spin on classical ballet (trading traditional tutus for newspapers), along with evocative fan dances and intricate geometric routines involving six design chairs that constantly lock together into unexpected, captivating architectural forms.

The six performers at the heart of this hypnotic new show are nothing short of phenomenal. It’s an absolute triumph that deserves to be a massive hit, not just in Italy, but on international stages worldwide.

Eccezionali le sei protagoniste di questo nuovo, accattivante, ipnotiizzante show, che secondo me, avrà un enorme successo e non solo in Italia, ma anche all’estero.

Grazie.Milan:till November 8th, Teatro Menotti Hosts AVANTGARDE, a visual and performance manifesto celebrating 20 years of NoGravity Theatre. The show seamlessly blends contemporary dance, physical theatre, optical illusion, and fine art, continuously challenging the audience’s perception, transporting them into a timeless dimension.Inspired by the groundbreaking 20th-century avant-garde movements—from Futurism to Bauhaus, as well as the pioneering stagecraft of figures like Loïe Fuller and Vaslav Nijinsky, AVANTGARDE moves away from traditional narrative to create a total work of art where theatre, physics, and visual perception intersect.

The stage operates as a dynamic, architectural machine. Through a clever interplay of mirrors, sharp light design, and invisible suspension techniques, the space tilts, fragments, and morphs before the audience’s eyes, creating impossible geometries and weightless figures.

NoGravity Theatre’s most extraordinary trademarks is the complete absence of CGI, digital tricks, or video projections. Every floating body, optical illusion, and shifting silhouette happens live, in real time, relying solely on the extreme physical prowess of the dancer-acrobats and a mechanical stage design adapted from Baroque theatre machinery.

The soundtrack it is a fusion of classical, experimental, and modern electronic music.

The sound research features collaborations with renowned music producers and artists, including Davide “Boosta” Dileo (keyboardist and co-founder of Subsonica), crafting an immersive audio environment designed in total harmony with the dancers’ physical movements.

Concept, Set, Costume & Light are designed by Emiliano Pellisari, the amazing Choreography crested by Emiliano Pellisari and Mariana/P (Mariana Porceddu)

The excellent cast includes Mariana/P (Principal Dancer, Leila Ghiabbi, Giada Inserra, Marianna Caratelli(Rotating cast members also include acrobatic dancers such as Polina Kliuchnikova, Carolina Amoretti, Margherita Petrosino, and Ginevra Cicatiello).

After years of pushing the boundaries of physical performance and turning the impossible into reality, NoGravity Theatre returns to Teatro Menotti with AVANTGARDE, a dreamlike journey and a mesmerizing visual experience that you don’t want to miss.

Till November 8th, 2026
Teatro Menotti, Via Ciro Menotti 11, Milano
to buy tickets
https://www.teatromenotti.org/evento/avantgarde.aspx
biglietteria@teatromenotti.org

(traduzione in italiano)

Seguo NoGravity da anni, eppure ogni stagione riesce ad apportare nuova linfa e fascino . La nuova produzione, AVANGARD, al suo debutto questa sera al Teatro Menotti di Milano, mi ha letteralmente travolto.

Con la sua brillantezza figurativa, Emiliano Pellisari scolpisce innumerevoli momenti di pura bellezza e sublime armonia. Sul palco, sei carismatiche interpreti-acrobati — autentiche atlete della danza — si muovono sotto l’occhio di un occhio che dall’alto ne cattura e proietta il gesto in tempo reale su un imponente fondale. Avvolte in costumi dall’effetto nude, eseguono una grammatica corporea fluida, priva di sforzo apparente e di una precisione sconvolgente.

L’immaginario spazia da vertiginosi momenti di assenza di gravità a un’ironica dissacrazione del balletto classico (in cui i tradizionali tutù cedono il passo ai quotidiani), fino a suggestive danze con i ventagli e complesse geometrie con sei sedie di design, costantemente ricomposte in inaspettate ed evocative architetture plastiche. Le sei danzatrici, fulcro di questa ipnotica drammaturgia visiva, sono semplicemente fenomenali. Un trionfo assoluto destinato a consacrarsi ben oltre i confini nazionali.

Un manifesto visivo per i vent’anni di NoGravity

Fino all’8 novembre, il Teatro Menotti ospita AVANTGARDE,  nuova produzione che celebra il ventennale di NoGravity Theatre. La pièce fonde senza soluzione di continuità danza contemporanea, teatro fisico, illusione ottica e arti figurative, sfidando la percezione dello spettatore per trascinarlo in una dimensione acronica.

Ispirandosi alle avanguardie del Novecento — dal Futurismo al Bauhaus, fino alle intuizioni sceniche di figure tutelari come Loïe Fuller e Vaslav Nijinsky — AVANTGARDE abbandona le strutture narrative tradizionali in favore di un’opera d’arte totale in cui teatro, fisica e percezione ottica convergono. Lo spazio scenico opera come una macchina architettonica dinamica: attraverso un sapiente gioco di specchi, un disegno luci di chirurgica precisione e invisibili sospensioni, la scena si inclina, si frammenta e si trasfigura, generando geometrie impossibili e figure aeree.

L’elemento distintivo di NoGravity risiede nella totale assenza di CGI, espedienti digitali o proiezioni video: ogni corpo fluttuante e ogni illusione ottica prendono forma dal vivo, in tempo reale, facendo perno esclusivamente sull’estremo virtuosismo atletico delle danzatrici e su una concezione scenotecnica mutuata dai dispositivi del teatro barocco.

Il tessuto sonoro è un’architettura integrata di musica classica, sperimentale ed elettronica contemporanea. La ricerca uditiva si avvale della collaborazione di produttori e artisti di rilievo, tra cui Davide “Boosta” Dileo (tastierista e co-fondatore dei Subsonica), autore di un ambiente sonoro immersivo formulato in profonda osmosi con la gestualità delle interpreti.

Ideazione, scenografia, costumi e disegno luci portano la firma di Emiliano Pellisari; la coreografia è firmata dallo stesso Pellisari con Mariana/P (Mariana Porceddu). L’eccellente cast vede protagonista Mariana/P (prima ballerina), affiancata da Leila Ghiabbi, Giada Inserra e Marianna Caratelli (in alternanza con Polina Kliuchnikova, Carolina Amoretti, Margherita Petrosino e Ginevra Cicatiello).

Dopo anni passati a ridefinire i confini della performance fisica rendendo visibile l’impossibile, NoGravity regala al Teatro Menotti un viaggio onirico d’impatto ipnotico, assolutamente imperdibile.

Informazioni e Biglietteria

• Date: Fino all’8 novembre 2026
• Sede: Teatro Menotti, Via Ciro Menotti 11, Milano
• Biglietti: teatromenotti.org/evento/avantgarde.aspx
• Contatti: biglietteria@teatromenotti.org

TAM ,Teatro Arcimboldi , Milan , hosted last night the spectacular, one of a kind show Âme, Dante’s Inferno reimagined.

The audience was literally captivated by the dazzling beauty of this high-octane visual performances by the French acrobatics outfit Les Farfadais, masterminded by Stéphane and Olivier Haffner.
Âme” is French for “Soul” and the production centers on a soul’s descent through the circles of Hell in pursuit of redemption and light.
The show is a large-scale visual circus and performance spectacle that combines aerial acrobatics, dance, theatrical imagery, music, elaborate costumes, lighting, and special effects, blending contemporary circus, aerial arts, visual illusion, and avant-garde costume design to serve up a sleek, dreamlike spin on Dante’s Inferno.

Dante’s odyssey unfolds as a seamless sequence of visual tableaux. Each infernal circle and mythological figure comes alive through sheer physical prowess and high-flying choreography.

The lighting often works together with the costumes and aerial apparatus rather than simply illuminating the performers, while the costumes contribute heavily to the fantasy aesthetic, offering a living visual art and a haute-couture fantasy.

The customs blend giant inflatable elements, metallic rigging, and sweeping textiles that turn performers into mythical beasts.
Sound & Light evocate soundscapes paired with immersive lighting set a mood that oscillates between dark, subterranean tension and poetic grace.

If you enjoy extravagant costumes + aerial choreography  Sculptural silhouettes and exaggerated shapes, Elaborate feathers, textures, headpieces and ornamentation, Metallic, jewel-like and intensely colored materials, cinematic lighting + atmospheric music that c ombines cinematic, atmospheric and rhythmic passages, characters that can resemble mythological creatures, fantastical beings or figures from an otherworldly carnival… ÂME is undoubtedly your show!

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