Eight hundred years after the death of Saint Francis and on the 100th anniversary of Dario Fo's birth, Matthias Martelli has accepted the challenge of revisiting the Nobel Prize winner's work and telling the story of the Poor Man of Assisi and his subversive message. Martelli offers audiences a portrait of a contemporary Francis—mad, necessary, and luminously unconventional. The result is a multi-voiced monologue, a teeming mosaic of bodies and characters, ranging from the comical to the poetic, from the grotesque to the melancholic, without ever losing sight of cutting irony and laughter. The show arrives in Turin after a long world tour, which, along with Mistero Buffo, has taken Martelli and the Teatro Stabile di Torino to five continents.

Holy Monday Francis

Gobetti

The season opens with a show that celebrates the essence of theater. With Una delle ultime sere di carnovale (One of the Last Carnival Evenings ), Valerio Binasco returns to Carlo Goldoni, with an ensemble comedy that intertwines feelings, weddings, and farewells in a melancholy and delicate atmosphere, where love resists life's hardships and loneliness. Against the backdrop of a coming to an end, a light-hearted and profound reflection on the stirrings of the heart unfolds, amidst revealed truths and subtle illusions. On stage, a vibrant and vibrant cast—(in alphabetical order) Andreapietro Anselmi, Natalino Balasso, Mauro Bernardi, Marta Cortellazzo Wiel, Matteo Cremon, Michele Di Mauro, Giordana Faggiano, Milvia Marigliano, Daniele Marmi, Elisabetta Mazzullo, Orietta Notari, Nicola Pannelli, Aron Tewelde, Ivan Zerbinati—brings life to an intense and vibrant stage score.

One of the last evenings of Carnival

Teatro Carignano

An elderly professor awaits his son's arrival in his room, who will accompany him to a retirement home. During his wait, marked by anxiety and melancholy, he converses with the memory of his late wife, amidst memories, tenderness, and truths about old age and death. Le ultime lune di Furio Bordon, directed by Paolo Valerio and starring Alessandro Haber, is an intense and poetic play. After being chosen by Marcello Mastroianni as his farewell, it has been translated and performed in dozens of countries over the course of thirty years. At times poignant, it lucidly explores family bonds and the fragility of the passing of time.

The last moons

This hilarious comedy, a finalist for the Tondelli Prize, sarcastically depicts a grotesque and dystopian near future. The backdrop to the protagonists' stories is marked by two events: the European Union's agenda has established that the last orgasm on earth will occur by 2030, and at the same time, Italy finds itself invaded by a horde of bears with inordinate sexual appetites. Amidst this collapse of desire and untamed animal instincts, a journalist, a zoologist, and a couple in crisis navigate the inertia of pointless and lifeless afternoons by reading newspapers and exercising in the living room. On stage are Gianni D'Addario, Niccolò Fettarappa, Lorenzo Guerrieri, and Rebecca Sisti.

Orgasm

Lisa Ferlazzo Natoli and Alessandro Ferroni bring to the Italian stage for the first time Escaped Alone by Caryl Churchill (1938), one of the greatest contemporary English playwrights. With clarity and irony, the play addresses the "joyous scandal" of female aging in a world obsessed with youth. Four women meet one summer afternoon: between tea and banal conversations, they imagine sudden catastrophes. What emerges is a disturbing tale of the uneasiness of the present, where everyday life and dystopia intertwine seamlessly. Churchill's sharp writing, here translated by Monica Capuani, leads the viewer into an atmosphere devoid of consolation but rich in poetic tension. On stage are Caterina Carpio, Tania Garribba,Arianna Gaudio, and Alice Palazzi.

Escaped Alone

It is August 3, 1667. In his studio as a sculptor, painter, and architect, the elderly Gian Lorenzo Bernini, the greatest artistic authority of Baroque Rome, angrily evokes the shadow of the hated Francesco Borromini, the brilliant architect from Ticino. When the unexpected news of his death arrives, his anger gives way to compassion: the suicide of his rival leads him to reflect on the constant war between artists and to recognize the value of the man he has considered an enemy for a lifetime. Martinelli offers us a surprisingly contemporary 17th century: poised between the birth of New Science and the barbarization of the present.

Letters to Bernini

In the contemporary Italian theater scene, the Berardi/Casolari duo stands out for their work that intertwines stage writing, autobiography, and reinterpretations of classics. Their essential and direct theater uses irony and a critical eye to explore our present, marked by personal crises and political tensions. In 2026, the President of the Republic awarded the pair the honor of Officers of the Order of Merit of the Italian Republic.

Hamlet Take Away

Born in Lebanon in 1968 and shaped by a life as an expatriate between Paris and Montreal, Wajdi Mouawad is today a leading author and director in contemporary theater. Incend i is a modern tragedy, starting with Oedipus and reversing its perspective: at its center is the figure of Nawal, a woman who confronts her destiny and attempts to transform it. Her story becomes a collective female memory, in which pain, silence, and anger are transmitted like invisible legacies. A memory that burns, but which can be broken through confrontation with her children Jeanne and Simon. For the playwright, truth is never given, but must be conquered and traversed. After Come gli uccelli , Marco Lorenzi returns to Mouawad, directing Frédérique Loliée and Filippo Dini, on stage alongside Aleksandar Cvjetkovic, Elio D'Alessandro, Gennaro Di Biase, Giovanni Drago, Barbara Mazzi, Emilia Piz, and Sara Verteramo.

Fires

The Children of the Haste

Tennessee Williams wrote Trigorin's Notebook in his later years, in 1981, to engage with a work he had always felt deeply close to: Anton Chekhov's The Seagull. For him, the Russian master was a playwright capable of compassionately describing the vulnerability of artists, humankind's longing for love, and the painful gap between one's aspirations and reality. He thus created a rewrite that retains the core of the original play while accentuating its emotional tensions, the conflict between youth and maturity, and the predatory dimension of artistic success. Leonardo Lidi, together with students from the School for Actors, brings together in this work his poetic research on these authors, who have repeatedly recurred throughout his career, and adds a new chapter to the project dedicated to the American playwright, begun with Cat on a Hot Tin Roof.

Trigorin's Notebook

Fonderie Limone Moncalieri

A simple yet universal story, that of a child and his relationship with the world around him, but, above all, a life lesson for all ages. Valerio Aprea brings a story by Sandro Bonvissuto to the stage and transforms it into a poetic reflection, leading us to the brink between childhood and adulthood. On a summer afternoon, a father teaches his son to ride a bike: it's a moving moment, capable of evoking in all of us an important formative stage, one that involves not only the learning of a motor skill, but the discovery of so much more.

The Day My Dad Taught Me to Ride a Bike

Alessandro Bandini celebrates the words and works of Giovanni Testori, staging an original dramaturgy constructed from the unpublished corpus of correspondence that the Lombard writer exchanged with Alain Toubas, to whom he was romantically linked for over thirty years, between 1959 and 1962. Two thousand letters that today recount joys and fears, distances and closenesses, infatuations and daily torments, and become further evidence of Testori's language, its vivid vocabulary, its recurring symbols, and its visionary grammar. It is the man, before the writer, who speaks: a soul struggling in the storm of his own love and who, unknowingly, while writing to his beloved, generates the poetic language that will come.

Forever

Lunetta Savino is the protagonist of Brechtian epic theater's masterpiece, which director Leo Muscato restores to its most popular, emotional, and dialectical form. Courage is not a heroine, but a merchant who endures war to gain survival and profit, a contradictory figure who lives in conflict as if it were a permanent market: slippery, elusive, in short, human. She combines a sense of motherhood confronting a ferocious system, a stubborn incorrigibility, a cynical capacity for speculation during a time of crisis, and the keen sense of alertness of those who live in a permanent state of emergency. The live music, with its decidedly rock edge, transforms the stage into a concert of light, sound, and bodies.

Mother Courage and her children

"Abracadabra" is a magical word, fairytale-like and arcane, the formula of a childish spell that can make what isn't there appear. In Babilonia Teatri's new, poetic, and moving work, it also becomes the bridge between the world of death and that of magic, embodied by the protagonist, magician, comedian, and performer Francesco Scimemi. Abracadabra is a show that takes us by the hand and leads us into territories from which we often escape, where tricks and illusions reveal what words alone cannot. On stage, alongside Scimeni, are Enrico Castellani, Valeria Raimondi, and Emanuela Villagrossi.

Abracadabra

In My Stupid Intents , a novel-turned-revelation by the young Bernardo Zannoni (Campiello Prize 2022), animals speak, use dishes, tables, beds, and light fires, but their lives remain a struggle for survival, harsh and merciless, like nature itself. The VicoQuartoMazzini collective brings to the stage a literary work populated by beasts who seek God, brush against him, and reject him, oscillating between a desire for humanity and feral brutality. A young lame marten, played by Giuseppe Cederna, is sold by her mother to an old usurer fox, who entrusts her with a sacred book: the parable of a being who tries in vain to rise above his own nature. The cast also includes Arianna Scommegna, Leonardo Capuano, Michele Altamura, Jonathan Lazzini, and Gabriele Paolocà.

My Stupid Intentions

Inspired by the Apocryphal Gospels, the show blends narrative theater and song theater to explore the encounter between the human and the divine. While the places of Jesus' childhood are more familiar to us, Mary's journey is less explored: a forced motherhood, a destiny devoid of choice, a journey of surprising relevance. Between 1969 and 1970, Fabrizio De André reworked these events in La buona novella, distilling poetry from the lights and shadows of humanity and restoring familiar stories in a radically new form. The show, returning to the Gobetti after its success in 2025, takes these songs and brings them back to their original sources, intertwining words and music in a suspended narrative. On stage are Bruno Maria Ferraro, Celeste Gugliandolo, Pietro Ballestrero, and Fiammetta Piovano.

The Good News

A unique opportunity to laugh at one of the absolute masterpieces of contemporary theater, written by Tom Stoppard, screenwriter of the film Shakespeare in Love and director of the film version starring Tim Roth and Gary Oldman, who in this production blends British irony with the tradition of Commedia dell'Arte. On stage are three beloved performers: Francesco Pannofino, the iconic face of Boris, Francesco Acquaroli, and Paolo Sassanelli, along with Andrea Pannofino and Chiara Mascalzoni. A brilliant and surprising journey behind the scenes of Hamlet, where comedy, misunderstanding, and reflection intertwine in an engaging, intelligent show that will captivate every viewer.

Rosencrantz and Guildenstern died

Gianfelice Imparato plays Don Felice Sciosciammocca, the character made famous by Totò. Naive and provincial, he arrives in Naples to visit his nephew Ciccillo. The young man, supposedly a psychiatry graduate, has been supported by his uncle to open a mental asylum, but in reality has spent all his money paying off gambling debts. To deceive Felice once again, he devises a plan: passing off the tenants of the Pensione Stella as psychiatric patients. This deception generates comical and paradoxical situations typical of Neapolitan tradition.

The Mad Doctor

It was the late 1950s and the beginning of the economic boom, and Italy was experiencing a new vitality, filled with confidence and hope for the future. Domenico Modugno set that momentum to music, capturing with his voice and talent that collective desire for rebirth, while also recognizing its fragility. Mario Perrotta's show, winner of the 2025 Ubu Award for Best Sound Project, tells the story of Mr. Volare, born in Puglia, still far from international tourism, who left to become an actor and became a symbol of freedom and lightheartedness. Arrangements by the musical ensemble of Vanni Crociani, Giuseppe Franchellucci, Massimo Marches, and Mario Perrotta.

In the Blue

The now traditional event at the Teatro Carignano, dedicated to children, families, and schools, is an opportunity to rediscover Pippi Longstocking, the world's strongest girl, a free and unconventional woman who uses imagination, irony, and courage to subvert the rules and imagine a more just world. In 2027, 120 years after Astrid Lindgren's birth, Pippi Longstocking returns to the stage, directed by Micol Jalla. For eighty years, Pippi has embodied freedom, courage, justice, and kindness, continuing to speak to girls, boys, and adults. With her extraordinary strength, mismatched stockings, and irreverent irony, she overturns social conventions and demonstrates that imagination can be a concrete instrument of resistance and solidarity. At a time when childhood risks being oppressed by rigid rules, performance anxiety, and models that demand ever more and faster, Pippi defends the right to grow up with an independent outlook. Her eccentricity becomes a gift and an antidote to conformism, raising radical questions about freedom, femininity, and the courage to imagine and build a more just and poetic world together.

Pippi Longstocking

Inspired by one of the masterpieces of Angelo Beolco, known as Ruzante—"our Shakespeare" according to Dario Fo—the show tells a fierce and timely story of love, possession, and revenge. Bilora ("weasel" in ancient Venetian dialect) is a small-time predator, a half-criminal forced to migrate to Venice, for love, he says, because a rich man has stolen his female—who is his property—but things, under these circumstances, can only end badly. Andrea Pennacchi, after the 2023 Nastro d'argento for Tutto chiede salvare (Everything Asks Salvation) and the success of Le città di pianura (The Cities of the Plain), directed by Gabriele Vacis, pays tribute to a great author yet to be rediscovered, rustic in his language but universal in his stories, a master at restoring the meaning of life, between tragedy and comedy.

Lowland Predators

People, Places & Things by British playwright Duncan Macmillan (1980) is an award-winning play directed by Pierfrancesco Favino, starring Anna Ferzetti, fresh from the success of Paolo Sorrentino's La grazia (The Grace ). Intense and fragmented, the play recounts a journey of recovery from alcohol and drug addiction. Emma, ​​a fragile and lost actress, loses the boundary between stage and reality. Committed to a rehabilitation center, she confronts alcoholism and drug addiction through group sessions, emotional conflicts, and painful family confrontations. A moving and profound tale of human fragility, where theater and life merge in a difficult journey of rebirth. Ferzetti stars in a large cast, including Betti Pedrazzi, Thomas Trabacchi, and Totò Onnis.

People, Places & Things

What would happen if Europeans had to conquer a new land, crossing the sea? This question is the starting point of Emanuele Aldrovandi's new play, which once again demonstrates his ability to weave dramatic tension and tragic irony into a dry, visionary narrative. A finalist for the Riccione and Scenario awards, it tells the story of four figures, caught between fear, hope, and disillusionment, trapped in a shipping container bound for an unknown destination. Their shipwreck becomes a universal metaphor for human frailty and the contemporary inability to cope with the loss of all certainty. On stage are Debora Zuin, Tomas Leardini, Luca Mammoli, Sara Manzoni, and Vincenzo Di Giovanni.

Sorry we didn't die at sea

Written by Mattia Torre (1972-2019) and previously starring Valerio Mastrandrea and Paola Cortellesi, Figli tells the story of a happy, loving couple; they have a six-year-old daughter and a smooth-running life, but what began as a romantic fairytale turns into a nightmare with the arrival of Pietro, their second child. The first imbalances begin, old grudges surface, dissatisfactions can no longer be kept hidden, and the slightest disagreement seems to be a cause for argument. The only salvation seems to be a babysitter, but the search is arduous and finding one seems like a herculean task. Between crying babies, laundry, screaming, and piling up household chores, Sara and Nicola, played here by Edoardo Pesce and Silvia D'Amico, directed by Fausto Paravidino, must learn to manage the situation and face their problems.

Children

After Measuring Frogs' Leaps (ANCT Critics' Award 2025), Carrozzeria Orfeo continues its ironic and poetic exploration of the contemporary human condition. This new work unfolds between realism and symbolism, exploring the contradictions of existence and the constant tension between loss and rediscovery of the self. Inspired by Raymond Carver, the stories told in this show are presented as brief forays into the homes of ordinary people: we enter through windows, rooftops, gardens, a van, or a phone booth, and the result is a gallery of portraits that, despite their mediocrity, manage to reflect contemporary Western man, perpetually hostage to his own anxieties, fears, and neuroses.

Running Away, Falling, and Other Useless Things

October 1963: a twenty-three-year-old student is forced to travel clandestinely to terminate a pregnancy. In France, abortion is still illegal: the word itself is unpronounceable. This diary recounts the days and stages of a painful and all-encompassing human experience, the lost search for solutions and apathy, medical ambiguities, the closeness of a few companions and the encounter with her mother, up to an unexpected feeling of pride in navigating life and death. Annie Ernaux, 2022 Nobel Prize Laureate in Literature, immerses her memory in reality: an exact and irrefutable voice emerges, opening a space of testimony for women excluded from history. Giving body and voice to this touching tale is the young talent of Alice Fazzi, directed by Kriszta Székely, TST associate artist and director of the prestigious Katona József Színház Theater in Budapest.

The event

Palazzo Carignano

Francesco Mandelli is the protagonist of this cult monologue, known to the general public thanks to its acclaimed television adaptation on Netflix in 2024. Written by British author Richard Gadd (b. 1989) based on an autobiographical experience, the show traces a young woman's growing obsession with him and his life. A morbid, toxic, and seemingly unstoppable intrusiveness that becomes the driving force of an adrenaline-fueled yet bleak story; a compelling parable that, despite its thematic complexity, possesses dynamism and surprise, charm and unease.

Baby Reindeer

Primo Levi's voice, more than any other, has been able to bring Auschwitz to life: an unmistakable timbre, gentle and firm, whose rawness evokes the Babel of the extermination camps: the sounds, the threats, the orders, the noise of the factory of death. On the 40th anniversary of Levi's death, coinciding with International Holocaust Remembrance Day, Valter Malosti returns to direct and perform this unique debut work, whose scenic condensing was curated in collaboration with one of Levi's leading experts, Domenico Scarpa. Having returned from Auschwitz, the Turin-born writer published If This Is a Man in 1947, transforming personal memory into a universal, almost scientific, reflection on the human condition during his terrible imprisonment. Music by Carlo Boccadoro.

If This Is a Man

Thirty years after its debut, Federico Tiezzi and Sandro Lombardi are restaging one of their greatest successes: Giovanni Testori's Oedipus. With this play, the author concludes, after Ambleto and Acbetto, the Scarrozzanti Trilogy, the grotesque and desperate world of a group of wandering actors who blend classical tragedy and everyday life. The abandoned manager is left alone to play all the roles, transforming the stage into a theater of the mind. Using a hybrid language that blends Lombard dialect and poetic invention, the sacred and the grotesque, eros and death, comedy and desperation intertwine. Along with the magnetic Lombardi, Antonio Perretta also takes the stage.

Oedipus. 30 Years Later

Angelica, Alcina, Bradamante, and Clorinda are the narrative engine of Ariosto's masterpiece, where desire, power, and female agency drive events. Davide Livermore's direction enhances the original octave meter, blending it with live music by the Chimera Ensemble and entrusting the entire score to a cast of excellent performers (Anna Della Rosa, Linda Gennari, Mariangela Granelli, Laura Marinoni, Fulvio Pepe, and Silvia Bennett). The performance thus restores the poem's richness and variety, and its ability to portray the complexity of humanity and passions with elegant language and boundless imagination.

Orlando Furioso

On October 13, 1972, Uruguayan Air Force Flight 571 crashed in the Andes with forty-five people on board: members of the Old Christians Club rugby team, along with some friends and family. Twenty-nine survived the accident, and after seventy-two days, only sixteen of them managed to be rescued, later confessing to the world that to do so, they had to feed on the bodies of their friends. Linda Dalisi and Fabiana Iacozzilli wrote this play after meeting some of the survivors and their families. Oltre thus became a story of love and impossible returns, in which children search for their fathers and fathers chase what remains of their children, like Priam for Hector. The cast includes Andrei Balan, Francesco Meloni,Marta Meneghetti, Giselda Ranieri, Evelina Rosselli, Isacco Venturini, and Simone Zambelli.

Over

Roberto Andò directs Lino Musella and a large cast of performers in a moving and impressive production that pays tribute to the unforgettable voice of Enzo Moscato. Philosopher, poet, playwright, director, and actor, Moscato was a leading exponent of what was called the "new Neapolitan drama" in the 1980s. His unmistakable writing—a musical and effortless distillation of Neapolitan dialect, Italian, French, Spanish, English, German, Greek, and Latin—becomes both material and stage, delving deeply into the viscera and soul, expressing the concrete and metaphorical fragility of the body of Naples. Musella is joined on stage by Tonino Taiuti, Flo, Lello Giulivo, Giuseppe Affinito, Vincenzo Pasquariello, Ivano Battiston, Lello Pirone, Eleonora Limongi, and twelve other artists.

I can't tell my life story

Leonardo Lidi returns to Natalia Ginzburg's work, choosing a text that, perhaps more than any other, addresses the constant clash between two opposing worlds: the feminine and the masculine. A story of loneliness, friendship, jealousy, and madness, it offers a human and timely glimpse into the intertwining of toxic and distorted relationships.

The advert

A tragedy of jealousy and manipulation, Othello tells the story of how doubt can transform into a toxic truth capable of destroying a life. The Moor, an esteemed general, is sucked into a spiral of suspicion that transforms his love for Desdemona into obsession and violence. The direction presents this masterpiece as a timely story about the fragility of trust and the ease with which a lie can replace facts, ultimately destroying relationships and identities. On stage are Alessandro Balletta, Francesco Biscione, Paolo Cresta, Rossella De Martino, Luca Lazzareschi, Gianluca Merolli, Pierluigi Misasi, Sara Putignano, Mersila Sokoli, and Federico Vanni.

Othello

A dark and visionary drama by Elizabethan playwright John Ford, it explores the dark side of ethics and desire, portraying the forbidden relationship between a brother and sister, experienced simultaneously as absolute love and irreparable guilt. Between irresistible attraction, initial rejection, surrender, and tragic fate, the story spirals downward, destroying all moral and religious balance. Luca De Fusco's direction accentuates the work's dark dimension, transforming it into an intense and disturbing theatrical experience that questions the limits of desire and guilt. Starring Alessandro Balletta, Debora Bernardi, Francesco Biscione, Andrea Codognato, Pierluigi Corallo, Paolo Cresta, Rossella De Martino, Gianluca Merolli, Pierluigi Misasi, Sara Putignano, and Mersila Sokoli.

Too bad she was a slut

Theodoros Terzopoulos, one of the leading masters of contemporary theater, has staged this tragedy several times throughout his long career, considering it a necessary element of our present. In this latest edition, Dionysus becomes the archetype of the refugee: having arrived from Tmolos three thousand years ago, he endures the wars of the Middle East and now lands on the shores of the Mediterranean, from Crete to Lampedusa. He takes the stage and invites us to shatter, together, the mirror of narcissism, allowing its fragments to give life to a new image. With Roberto Latini, Alvia Reale, Enzo Vetrano, Stefano Randisi, Marco Cacciola, Paolo Musio, Gemma Carbone, Giulio Germano Cervi, Rocco Ancarola.

Bacchae

Hanif Kureishi (1954), one of the greatest contemporary British authors, tells the story of the confrontation between Jane and her stepfather Cecil, played by Stefania Rocca and Franco Castellano. After years of silence, the two find themselves in a suspended time, just before nightfall. She has tried to leave everything behind, avoiding the man who marked her childhood, but now those memories are reflected only in the frailty of an elderly man. The dialogue between them immediately becomes tense, the roles of victim and executioner seem clear, but the memories crack and contradict each other, waver, and finally give way to an ambiguous bond, deeper and more painful than expected.

When Night Falls

A surreal and horrifying femicide, where the victim—killed every night by her husband who smashes her head—is forced to come back to life to continue caring for her family and the home. Emma Dante, Golden Lion 2026 at the Venice Biennale, a powerful and uncompromising authorial voice, wrote and directed this play, focusing on the subordination of women, starting from the home, where violence is often an absolutely ordinary occurrence, like the slap the protagonist receives from her husband. And it is precisely in this dimension that the woman, at the moment of her death, is not believed, but must get back on her feet and return to her role, serving everyone. With Leonarda Saffi, Ivano Picciallo, Davide Leone, Giuditta Perriera.

L’angelo del focolare

For Gabriele Russo, the family remains the quintessential seismic zone of theater, the terrain on which, from Sophocles onward, the rift between the need for love and the need to defend oneself from love itself plays out. In 2025, this Endgame frees Beckett from the framework of the Absurd and the post-apocalyptic to place him in our everyday reality. Hamm and Clov, played respectively by Michele Di Mauro and Giuseppe Sartori, live in a decadent, suffocating home, and their sense of meaninglessness is constant, recurring, imbued with fear of change and entrenched survival habits. Alessio Piazza and Anna Rita Vitolo, as Nagg and Nell, complete the family picture and offer us a snapshot of the present, between dependence and love, irony and desperation. Not a philosophical metaphor, but a tender and ferocious struggle to stay alive, together, until the end.

Endgame

Mor is a declaration of love and a gesture of reconciliation, the story of a conscious choice to break a chain of pain and violence. Lucia Mariani, together with Eleonora Limongi and Eva Meskhi, transforms Garagnani's graphic novel into a performance that explores the legacy of trauma. The protagonist is a cartoonist, who through her art makes the invisible visible. As the audience watches the images take shape on the screen, the story of her pain unfolds—her mother fell into a coma after years of alcoholism—and of her passing from one generation to the next. The stories of mother, grandmother, and daughter intertwine in a memory that stretches back through time, allowing the stage to become a space suspended between life and memory.

Mor. A Story for My Mothers

Back by popular demand, the show dedicated to the great Fred Buscaglione, written and performed by Matthias Martelli, featuring the musical talent and trumpet of Fabrizio Bosso, and an ensemble of musicians: Arturo Caccavale (vocals), Alessandro Gwis (piano), Mattia Basilico (saxophone), Matteo Rossi (double bass), and Luca Guardino (drums). A whirlwind of colors and musical notes brings to life the famous gangster singer's nocturnal world of women, cigarettes, and whiskey, thanks to the brilliant directorial inventiveness of Arturo Brachetti. Buscaglione, an innovator on the Italian music scene in the 1950s, fused American styles, such as jazz, with Italian melodic tradition, creating a unique sonic and poetic language.

Fred!

A mature woman is swept away by the unexpected love of a much younger man and proves willing to do anything to keep him, despite his carelessness and superficiality. Fulvio Pepe draws inspiration from Leo Tolstoy's The Power of Darkness for this original text, but lightens its dark atmosphere with the pastel tones of Italian comedy, shifting tones and perspectives and setting the entire story in the 1950s on a farm between Emilia-Romagna and Veneto.

The last Sunday of August

The story of the human failure of a successful man who, unknowingly, and perhaps unintentionally, dragged other lives into his ruin. A work by the great Swedish playwright and filmmaker Ingmar Bergman in which the theater becomes a place for profound reflection on life itself: a director rethinks his work and his relationships with actors, especially that with a young woman tied to his past and his most ambiguous memories. There is no real separation between stage and reality: everything blurs, as if acting were the way to give form to what remains unresolved in life. The meaning of the play lies precisely in this constant exchange between fiction and emotional truth, where the characters grapple with time, memory, and their own frailties, demonstrating how theater can become a merciless mirror of existence. With Gabriele Lavia, Federica Di Martino, and Eleonora Bernazza.

After the test

Since its debut in 2015, this show has continued to garner awards and accolades, revealing to a wider audience the talent of Teatro dei Gordi and its unique compositional poetics, capable of exploring universal themes such as old age, memory, or, as in this case, the end of life with irony and sensitivity. "On Death Without Exaggeration," in homage to Polish poet Wisława Szymborska, addresses the theme of passing through an unconventional use of contemporary masks: familiar figures, past and present, who, without making a sound, speak to us of encounters, final moments, departures, returns, missed opportunities, wakes, and farewells. This fresco is brought to life by Giovanni Longhin, Andrea Panigatti, Sandro Pivotti, and Matteo Vitanza.

On Death Without Exaggeration

In 2020, Norwegian director Eline Arbo created a stage and musical adaptation of Édouard Louis's celebrated novel, earning widespread critical and public acclaim. Since then, the show has continued to garner acclaim across Europe, and in 2023, Arbo became the new artistic director of the prestigious International Theatre Amsterdam. A story of growth and self-assertion against an intolerant, petty, and phobic world, a powerful cast of four incredible performers (Dim Koning, Minne Koole, Jesse Mensah, and Felix Schellekens), and a compelling stage score make The End of Eddy, now in its Italian premiere, a show destined to remain etched in audiences' memories.

The end of Eddy

The Old Testament and the Gospels were "us," the deep roots of what remains of the West. The upcoming performance, on the Quran, will be "the others": the search for shared stories for coexistence. The third stage of Gabriele Vacis and the PoEM collective's journey through the sacred books encounters the Quran, which requires a complex approach and will be presented through the open form of "social meditations." A journey that opens the stage to the present through six evenings, each different, during which the stories, bodies, and thoughts of authors, musicians, performers, and scholars will alternate on stage. Tales told by many voices for a single shared listening experience.

Quran. Aloud meditations on the Quran,

With this show, Stefano Massini, following the success of Mein Kampf and Donald , continues his reflection on political power and its protagonists. The Tuscan playwright and director turns his gaze to Russia, recounting the rise of Vladimir Putin: from a streetwise teenager in Soviet Leningrad to master of the Kremlin. Constructed like a KGB dossier compiled by "Vova" himself, short for the Russian president, the show traces the collapse of the USSR amid violence, hunger, riots, and criminal gangs, reconstructing the future leader's methodical rise to power. A tale of our most recent history that takes on the tone of a Shakespearean tragedy, ferocious and visionary, between an obsession with control and a cult of terror. On stage with Massini are musicians Luca Roccia Baldini and Mariel Tahiraj.

The Tsar

Ciccio Speranza is a fat but light-hearted boy, with a soul so delicate he could be mistaken for a graceful Northern European princess. He lives in an old provincial shack where he feels suffocated, and has a dream too big to remain in a rotten wooden drawer: he wants to dance. In a desolate province, where fathers impose ancient destinies on their sons like unwritten laws, a fierce and timeless conflict unfolds, reminiscent of Gavino Ledda's Padre Padrone. This is where Alberto Fumagalli's show takes shape: a raw and poignant fairy tale, suspended between tragedy and poetry, performed by Damiano Spitaleri, Alberto Gandolfo, and Federico Bizzarri, who bring to life a stark, moving, and luminous show that has toured Italy for years with great success.

The very difficult life story of Ciccio Speranza,

On his birthday, a celebrated writer receives a long, anonymous letter. It comes from a woman who, unnoticed, has spent her life in his shadow: adolescent infatuation, undeclared love, silent waiting, sacrifice, even motherhood... An absolute love, consumed in secrecy and devotion, which transforms into a final confession only after the death of her son and in the face of her own imminent end. Giordana Faggiano is the powerful protagonist of this play directed by Davide Sacco, who adapts Stefan Zweig's vibrant works for the stage, transforming them into an intimate and heartbreaking ode to unconditional love and its destructive power.

Letter from a Stranger

Antonio Zavatteri, following the success of Yasmina Reza's Carnage , directs this celebrated comedy, which has become part of the collective imagination thanks in part to the success of the film of the same name, and is here adapted for the stage by Fausto Paravidino. During a dinner at the home of two left-wing professors, the relaxed atmosphere degenerates into a heated confrontation. The woman's brother announces that he will soon be a father, but after the initial enthusiasm, the guests are left puzzled by the embarrassing historical memories evoked by the name chosen for the unborn child. The discussion quickly escalates, bringing resentments, hypocrisies, and secrets to the surface. Amidst plot twists, comical quips, awkwardness, and deep bonds, political coherence is revealed to be at times a secondary factor, at other times a feat. Giving voice and form to the characters are Lisa Galantini, Alberto Giusta, Davide Lorino, Elisabetta Mazzullo, and Aldo Ottobrino.

Le Prénom (Dinner with friends)

In 1970, Victoria Chaplin met actor and director Jean-Baptiste Thierrée: together, they dreamed of a different kind of circus and stunned the Avignon Festival with their Cirque Bonjour. Over time, together with their two children, Aurélia and James, the duo revolutionized and radically transformed the circus arts, infusing it with the performing arts and with a profound ability to blend enchantment and poetry. With Rendez-vous , Thierrée-Chaplins open their album and revisit fragments of past shows: an intimate history of circus, theater, and music hall, but above all, a family story, with a poignant remembrance of the great Charlie Chaplin, fifty years after his death.

See you on

After learning his show has been canceled, Hamlet, the Danish prince, tries to survive by reinventing himself as a stand-up comedian. Following the success of Juliet & Romeo, visionary British choreographer and director Ben Duke returns to the TST program, transforming the revenge drama into a poignant reflection on male identity, power, and responsibility in the contemporary world. A reinterpretation of Shakespeare in an unmistakable style, poised between dance, theater, and humor. Starring Miguel Altunaga, Ben Duke, Hannah Hulford, and featuring Anna B. Savage.

The Last Hamlet

After last season's resounding success, the show written and directed by Simone Schinocca returns to explore parenthood and the bond of filiation beyond the confines of blood. Through the experience of foster care, experienced as a "Shamandura"—a buoy that supports, saves, and connects—a journey unfolds between natural families and chosen families, born from encounters capable of changing destinies. Not a confrontation, but a powerful tale of loves embraced and rediscovered, where care becomes a conscious choice and the possibility of rebirth. On stage are Antonella Delli Gatti, Costanza Maria Frola, Marco Musarella, and Michela Paleologo.

Soul Children

An ideal sequel to Come nei giorni migliori (Like on Best Days), the show tells the story of Briciola, Luna, and Wanda, a dog, a cat, and a female goldfish, who suddenly find themselves alone, abandoned at home by their owner. He leaves home like every night to go somewhere they don't know, but this time he doesn't seem to return. The two youngest talents from the artistic core of the Teatro Stabile di Torino, Diego Pleuteri and Leonardo Lidi, deliver a brilliant and moving play, a metaphor for the oppression we are subjected to, at various levels, by a falsely empathetic society. On stage are Marta Malvestiti, Beatrice Verzotti, Teresa Castello, and Hana Daneri.

We will always be here waiting for you

A “solo” exhibition dedicated to Silvia Gribaudi, choreographer and artist associated with the Teatro Stabile of Turin and Le Gymnase of Roubaix, which presents three shows in which body, irony and relationship with the public are intertwined in a contemporary choreographic research, between dance and theatre.

Focus Silvia Gribaudi

An archetype of the "tragedy par excellence" due to the psychological depth of its characters, the universality of its theme, and its resonance across the centuries, Hamlet has become a firm fixture in our collective experience, because its doubts embody the very essence of our humanity. Translated and adapted by Diego Pleuteri, this production by Leonardo Lidi, which opened last season to great acclaim, allows the fragile and elusive truth to reveal itself through the eyes of the audience. Starring Mario Pirrello, Giuliana Vigogna, Nicola Pannelli, Ilaria Falini, Rosario Lisma, Christian La Rosa, and Alfonso De Vreese.

Hamlet

Regeneration, Italo Svevo's last play, written between 1926 and 1927, addresses a timeless theme: the relationship with old age and physical decline. Is it legitimate to desire rejuvenation, to the point of challenging the limits of nature, or to rely on science and its experiments, or is it wiser to accept the course of life and its changes? The protagonist is Giovanni Chierici, a fragile but astute man immersed in a reality marked by irony and dramatic tension, in which reflection on existence is intertwined with ferocious comedy. With Nello Mascia, Roberta Caronia, Matilde Piana, Alice Fazzi, Nicolò Prestigiacomo, Massimo De Matteo, Mauro Parrinello, Roberto Burgio, and Roberto Mantovani.

Regeneration

With Todo , commissioned in 2009 by Berlin's renowned Schaubühne, Argentine playwright Rafael Spregelburd composes a triptych of stories that travel backward in time, intertwining a sense of the absurd, irony, and anxiety: in an office now devoid of meaning, bureaucracy transforms every situation into a theater of nonsense; at a Christmas dinner, family resentments and reflections on freedom and art explode with surprising lightness; and, finally, in the final scene, a bewildered mother and a writer father confront the fear of death and the burden of faith. The final result is a brilliant dramaturgy that transforms the everyday into a dizzying meditation on the chaos of existence. This is Jurij Ferrini's third and successful encounter with Spregelburd's work, after Lucido and Il panico .

In our city's 18th-century salon, one of the summer's most anticipated events takes place: Prato Inglese. A chance to discover the pleasure of unforgettable performances and the beauty of one of the oldest and most evocative theaters in our country, with two comedies performed by a cast of young actors.

Teatro Stabile Torino

Oct 4 - Nov 1, 2026

Holy Monday Francis

5 - 25 Oct, 2026

One of the last evenings of Carnival

Oct 27 - Nov 8, 2026

The last moons

3 - 8 Nov, 2026

Orgasm

10 - 15 Nov, 2026

Escaped Alone

Teatro Stabile Torino