Little chairs

"An extraordinarily beautiful show, perfect even for the little ones. On stage, the talented actors Michele Beltrami and Paola Cannizzaro demonstrate an exceptional mastery of theatrical times and comedy keeping the audience’s attention alive and vibrant. The two lights on Paola’s face, that is her big eyes of an intense and vivid blue, illuminate the scene more than the spotlights themselves, creating a magical and suggestive scenic effect. The ability of the two actors to engage the audience is evident, turning every movement and word into a moment of pure emotion and fun. Their skill is combined with a simple but effective scenographic idea: the red chairs, built with precision and craftsmanship by Michele, meticulous and orderly carpenter, and the colorful bags of Paola, which add a touch of vivacity and surprise. These scenic elements not only capture the attention, but stimulate the imagination, creating expectation, curiosity and emotion in an audience of all ages. The show manages to touch universal themes such as growth, discovery and change, with a lightness and depth that fascinate and move. Each scene is designed to evoke memories and feelings, taking the audience on an emotional journey that makes them feel part of the story."

Renata Rebeschini, Utopia, 2024

"[...] It is about growing up, the time it takes, waiting and standing still, which allows creativity to flow from simple gestures and daily actions. Even the bathroom break can bring new ideas. Michele Beltrami uses a clownish language in which he is obviously at ease, with a rhythm given by the looks, the breaths and the pauses. He knows the code and plays it well. Paola Cannizzaro brings lightness to the scene. We could say a poetic clown, an optimistic Pierrot who sees the positive side of things. She carries a chair leg with her, even without purpose, in case it's needed. In fact, it serves him, who is there building little chairs. As soon as he enters with his red helmet, he is immediately identified by the children: "it’s all no no no no". He is the form, she the change. He is the thought, she the emotion. Together they give the audience a lot of feeling. When the crowd of operators get up from the audience I see many smiles of satisfaction, as if to say "there! we needed that". [...] "Little chairs" stands out as a work that moves and intrigues both adults and children, balancing clownish elements with deep reflections on growing up and on creative union. The effectiveness of the show lies in its ability to transform complex concepts into visually stimulating and emotionally engaging experiences. Through its refined aesthetics and simple but meaningful narrative, "Little chairs" manages to touch the viewers' heart strings and inspire them. The power of the show is clear in the way it manages to bring together elements of form and change, creating a theatrical experience that is both educational and deliciously entertaining. The continuous evolution of the show, enriched by the feedback from the public and by critical reflection, confirms its importance and value in the world of the Theatre for the Young Audience. A show built "millimeter by millimeter" (cit.)."

Samuel Zucchiati, eolo | rivista di teatro ragazzi, 2024

"I saw a great performance for children on Sunday, "Grow Up" by Teatro Telaio, that was enjoyed in equal measure by parents alike. I felt I had to write a response. I believe theatre of substance should be so, as children deserve the same respect in terms of quality that adults expect, and good storytelling stands up by itself. This show did just that, without clever tech, or special effects. Just two actors with multiple chairs that kept being assembled by our protagonist and the evident joy of creative & rich simplicity. The magic through clowning & shadow play with torches was imaginative and cleverly thought through, we were transported to the world of growing up and all the challenges we face when learning to be amongst others. I say "we" as I also see that the world's problems are just a magnification of the child's - sharing for example or feeling unloved, unseen. What was significant to me was the use of minimal language, which is often attributed to the mimed form of theatre. Years ago, when I worked with Antidote Theatre and then with Little Muse we also worked with minimum dialogue to great success and there are very important reasons. The conflicts and struggles, the discoveries and challenges that young children face are thought processes that occur internally, their reactions of frustration and understanding to sharing, working out a problem, finding a solution and experiencing joy are mostly physical, also noisy but not necessarily made up of words. Therefore an audience of children can very quickly identify their own story on stage without being directed and told through language. In silence and clever use of music we are given the space to think and reflect and in that space it is the audience that reacts and acts with the performers as they see a journey they are on, unfold. When children are angry, envious, anxious, shy, stressed they often retreat into themselves, words or sounds are chosen carefully, to prevoke, to agitate, to get attention. I am not saying that productions that are language based don't have their place, they do, absolutely, but the physical language and comedy of the face and body can make a story much more immediate. Of course such forms also enable actors to share their work internationally as the other brilliant part of theatre with minimum dialogue is that it transcends the barrier of language and make a production accessible to everyone. The actors in this particular show, to their great credit also learned a few Greek phrases which delighted the audience. Thank you Assitej Cyprus and Mitsikouri Festival for celebrating this form and reminding me of why I love working in our industry and making me dream of making a new show."

Catherine Beger, Artistic Director at Little Muse Young People's Theatre, 2025