L’uomo, la bestia e la virtù with Vanessa Gravina at Teatro Quirino, March 16 to 21, 2027

L'uomo, la bestia e la virtù by Luigi Pirandello, with Vanessa Gravina, Max Malatesta and Nicola Rignanese, in an adaptation and directed by Roberto Valerio, plays at Teatro Quirino Vittorio Gassman, at via delle Vergini 7 (00187 Rome), from Tuesday, March 16 to Sunday, March 21, 2027, for six performances: Tuesday, Wednesday and Friday at 21:00, Thursday, Saturday and Sunday at 17:00. The show is presented by Teatri di Pistoia Centro di Produzione Teatrale in collaboration with Teatro Nuovo Giovanni da Udine. Quirino is in the Trevi district, between via del Corso and the Trevi Fountain, and you can walk there from the Barberini and Spagna stops of metro line A. The theater publishes the prices of the different sections in its tickets and subscriptions page. Tickets are sold on the official Teatro Quirino website, through the online purchase button on the show's page, or at the box office on via delle Vergini.

Language: opera sung in its original language; no English surtitles are announced, so check with the theater.

L'uomo, la bestia e la virtù at Quirino: dates, times and tickets

L'uomo, la bestia e la virtù stays on the bill at Teatro Quirino in Rome for just one week, March 16 to 21, 2027, with six performances and times that change from one day to the next.

The three evening shows

Tuesday, March 16 at 21:00, Wednesday the 17th at 21:00 and Friday the 19th at 21:00. These are the performances for anyone who wants to combine the show with dinner in the historic center, before or after.

The three afternoon shows

Thursday, March 18 at 17:00, Saturday the 20th at 17:00 and Sunday the 21st at 17:00, the last Rome performance. On Saturday, unlike in many other theaters, the show is in the afternoon: if you take a Saturday evening for granted, check the calendar published by the theater.

How to buy tickets

The show's page on the Quirino website has an online purchase button linked to the theater's official box office. The box office on via delle Vergini sells tickets in person during the hours published on the site, which change with the seasons. Prices for orchestra, balconies and gallery are in the Subscriptions and Tickets 2026/2027 section.

The full cast and crew

Vanessa Gravina, Max Malatesta and Nicola Rignanese are the three names at the top of the bill. Also on stage are Beatrice Fedi, Massimo Grigò, Franca Penone, Lorenzo Prestipino and Mario Valiani. Sets and costumes are by Guido Fiorato, original music by Anselo Luisi, lighting by Emilio Pona, adaptation and direction by Roberto Valerio.

L'uomo, la bestia e la virtù: the plot of Pirandello's comedy

L'uomo, la bestia e la virtù is the comedy Luigi Pirandello wrote in 1919, based on his 1906 short story Richiamo all'obbligo, and which the author himself called an apologue in three acts.

The triangle

Professor Paolino, the Man, lives on private lessons and flaunts an inflexible morality. Among his pupils is Nonò, an 11-year-old boy, son of Signora Perella, the Virtue: a modest, restrained mother, in effect abandoned by her husband. Captain Perella, the Beast, is a veteran sailor who is always away, who has another woman and other children in another port, and who, when he comes home, finds every excuse not to go near his wife.

The accident

Paolino and Signora Perella are having a clandestine affair, and the affair has a consequence: an unwanted pregnancy. There is no doubt about paternity, because the captain has long refused any contact with his wife. To save appearances, the husband has to become a husband in every sense again during the single night he will spend at home before leaving.

Paolino's plan

Paolino has a doctor prepare a powerful aphrodisiac, which ends up inside some chocolate pastries. Then he makes up and dresses his shy lover so that she looks anything but virtuous. The dinner at the Perella house becomes a sequence of comic situations, with the captain in a foul mood, the housekeeper, the pharmacist who has figured everything out and the professor flapping around like a director in trouble.

The vases on the balcony

The agreed signal is simple: if the night goes as it should, the next morning Signora Perella will put a vase of flowers out on the balcony. The resolution of the comedy rests on those very vases, and on the way Paolino, faced with the success of his plan, discovers that the Man and the Beast may not be who they seemed at the start.

Roberto Valerio's direction: a comedy in a dreamlike set

In the director's notes published by Teatro Quirino, Roberto Valerio calls L'uomo, la bestia e la virtù a strangely funny comedy that, behind the classic love triangle, hides themes that still speak to the present.

Today's masks

The director lists the knots that interest him: saving appearances, hypocrisy, respectability, the sense of morality in our day, and the possession of the body of the beloved woman, which he compares to the crime pages of the newspapers. Staging the text today, he writes, means coming to terms with our own hypocrisy and with the hypocrisy around us.

A suspended set

The staging places the characters in a dreamlike set, as if suspended in an undefined time. Valerio recalls that Pirandello introduces them with stage directions that describe them as animals, and he links them to Six Characters in Search of an Author and to Non si sa come: in Pirandello, he observes, the dream often reveals more than reality.

Paolino as Hinkfuss

The most theatrical image in the note concerns the protagonist. In trying to save Signora Perella from the precipice, and above all himself, Paolino becomes a sort of demiurge, a new Hinkfuss, the director of Questa sera si recita a soggetto, who sets the scene to make the Beast fall into a trap. It remains to be seen who will really fall into it in the end.

The final question

The note ends with a sentence by Pirandello himself, which the director uses as the key to the show: "What can we really know about others? Nothing, perhaps truly nothing."

L'uomo, la bestia e la virtù in the history of Pirandello's theater

The first performance of L'uomo, la bestia e la virtù took place in Milan, at Teatro Olimpia, on May 2, 1919, with Antonio Gandusio's company, and the audience did not receive it well.

A difficult debut

The spectators, who perhaps did not expect a comedy with farcical and risqué tones from Pirandello, reacted coldly. The text was reassessed later by critics and audiences, until it became one of the author's most frequently performed comedies, in Italy and abroad.

From magazine to book

The text was published in September 1919 in the magazine Comoedia and then as a book in 1922 by the publisher Bemporad. Today it is part of Maschere nude, the complete collection of Pirandello's plays.

The film with Totò and Orson Welles

In 1953 Steno made a film of it with Totò as Professor Paolino, Orson Welles as the captain and Viviane Romance. It is one of the most unusual pairings in postwar Italian cinema, and it says a lot about how well the comedy suits comic performers.

Petella and Perella

In the short story the comedy comes from, the captain is called Petella, not Perella. According to the encyclopedia entry on the work, the surname probably recalled Giuseppe Petella, a captain of the Carabinieri of the Kingdom of Italy.

Who Vanessa Gravina is: biography

Vanessa Gravina, born in Milan on January 4, 1974, is a stage actress and director who made her film debut at age 11 in Colpo di fulmine by Marco Risi, earning a Nastro d'argento nomination for best new actress.

A childhood on set

At six months old she is already the star of a Carosello commercial, and as a child she poses for photographers such as Fabrizio Ferri, Richard Avedon, Oliviero Toscani and Angelo Frontoni. In 1981, at age 7, she makes her radio debut in Torno subito by Diego Cugia. After Colpo di fulmine come Maramao, Giovanni Veronesi's first feature, 32 dicembre by Luciano De Crescenzo and the miniseries Due fratelli by Alberto Lattuada.

Television

The general public knows her from 1988 with Don Tonino, then with La piovra 4 and La piovra 5 by Luigi Perelli. In 2001 she is Dr. Paola Duprè in the fourth season of Incantesimo, a role that earns her the Grolla d'oro for best television actress. Then come CentoVetrine, Sospetti, Gente di mare, Un caso di coscienza, Madre, aiutami alongside Virna Lisi and, from autumn 2018, Countess Adelaide di Sant'Erasmo in the Rai 1 daily series Il paradiso delle signore.

Theater, from Strehler onward

In 1991 Giorgio Strehler chooses her for the role of Hilde in Ibsen's The Lady from the Sea at Piccolo Teatro di Milano. Since then theater has been a constant: Strindberg's Miss Julie and The Taming of the Shrew with Armando Pugliese, Neil Simon's Barefoot in the Park, Genet's The Maids, Agatha Christie's Witness for the Prosecution with Geppy Gleijeses, and in 2025 Pazza by Tom Topor.

Pirandello, a long association

The relationship with Pirandello runs through all of Vanessa Gravina's theater career: La vita che ti diedi with Luigi Squarzina in 2004, Vestire gli ignudi with Walter Manfrè between 2008 and 2010, Il piacere dell'onestà with Liliana Cavani from 2018. L'uomo, la bestia e la virtù is the fourth Pirandello title of her career.

Awards

Besides the 1986 Nastro d'argento nomination and the 2001 Grolla d'oro, she received a special mention at the 2007 Rome Film Festival for L'uomo privato by Emidio Greco and, in 2024 in Venice, the Starlight International Cinema Award as best actress. In 2019 she also directed a production, Monteverdi's Il combattimento di Tancredi e Clorinda.

Roberto Valerio, Nicola Rignanese and Max Malatesta

L'uomo, la bestia e la virtù is the third show in which Vanessa Gravina works with Roberto Valerio, after Molière's Tartuffe and Chekhov's Uncle Vanya.

The partnership with Valerio

In Tartuffe, between 2019 and 2020 and then revived in May 2023, Vanessa Gravina was Elmire alongside Giuseppe Cederna. In 2022 she was the lead in Uncle Vanya, also directed by Valerio. The director now returns to a text in which the play of masks is declared in the title itself, and in which Gravina is once again the woman at the center of a domestic deception.

Nicola Rignanese, the captain

Born in Foggia in 1965, a 1991 graduate of the Scuola d'arte drammatica Paolo Grassi in Milan, Nicola Rignanese is a long-standing actor across theater, film and television. He made his film debut in 1996 with Vesna va veloce by Carlo Mazzacurati and often works with Antonio Albanese: Uomo d'acqua dolce, Qualunquemente, Tutto tutto niente niente, the series I topi, Cento domeniche. On television he was in Questo nostro amore and played Boris Giuliano in the series La mafia uccide solo d'estate.

Max Malatesta, Professor Paolino

Max Malatesta gets the most thankless and the funniest role, that of the transparent Signor Paolino, private tutor: the character who holds the comedy in his hands, builds the plan and suffers the consequences.

The rest of the company

Massimo Grigò plays two brothers, Dr. Nino Pulejo and the pharmacist Totò. Franca Penone is both Rosaria, Paolino's housekeeper, and Grazia, the maid of the Perella house. Mario Valiani is the schoolboy Giglio and the sailor. Lorenzo Prestipino is the schoolboy Belli. Beatrice Fedi is Nonò, the Perellas' 11-year-old son.

A curiosity about L'uomo, la bestia e la virtù with Vanessa Gravina at Teatro Quirino, March 16 to 21, 2027

The tastiest curiosity concerns the 1953 film. When Steno brought the comedy to the screen, he gave the role of Professor Paolino to Totò and that of Captain Perella to Orson Welles. Totò and Welles in the same film based on Pirandello: a pairing that seems impossible today and yet really happened, and that tells you a lot about the double nature of the text, farce and tragedy together.

The second curiosity is in the casting of this production. The role of little Nonò, an 11-year-old boy, is given to an adult actress, Beatrice Fedi, and several actors play two parts each. Massimo Grigò is both the doctor and the pharmacist brother, Franca Penone is the housekeeper of one house and the maid of the other. In a production about masks, the fact that the same faces move from one character to another is anything but a practical detail.

The third curiosity concerns the 1919 debut. The Milan audience at Teatro Olimpia did not like the comedy, judging it too risqué for an author who was establishing himself as the most restless in Italian theater. Today it is one of the most frequently performed Pirandello titles: a flop turned into a classic by time, which is the fate of many works that are uncomfortable on first hearing.

Teatro Quirino Vittorio Gassman, the venue of the show

Teatro Quirino is a horseshoe-shaped hall with two balconies and a gallery, seating 852, in the Trevi district. Since 2015 it has been run by Quirino srl, with Guglielmo Ferro as artistic director.

Born in wood

The first Quirino was commissioned in 1871 by Prince Maffeo Barberini Colonna di Sciarra, inside the grounds of Palazzo Sciarra, with the entrance on via del Corso and a structure that reached right up to the Trevi Fountain. The design was by Giulio De Angelis, with Francesco Marra. The structure was entirely of wood and, according to tradition, was put up in a single day. The name recalls the Quirinale and the god Quirinus.

Rebuilt in masonry

In 1882 the opening of a street between via del Corso and the Trevi Fountain forced it to be dismantled. De Angelis redesigned it in masonry, a few meters farther on, with the horseshoe hall, two tiers of boxes and neoclassical cast-iron columns. In 1898 the interiors were decorated with drapes, velvets and gilded stucco.

Piacentini's two interventions

In 1914 Marcello Piacentini lowered the orchestra to add a third tier of boxes and gave the theater a retractable roof. In 1954 he returned with a more radical intervention: cantilevered tiers in place of almost all the boxes, new systems and the canopy that still marks the entrance today. The renovated theater reopened on October 13, 1955. The venue's profile is on the page about Teatro Quirino.

One thing nobody tells you about L'uomo, la bestia e la virtù with Vanessa Gravina at Teatro Quirino, March 16 to 21, 2027

What is rarely said about this comedy is that it is not a light comedy, despite the laughs. Beneath the farce machinery, the aphrodisiac pastries, the heavy makeup, the vases on the balcony, there is a woman who is made up, dressed and pushed toward a man who does not desire her so that two men can save face. Roberto Valerio says so in the notes: the possession of the body of the beloved woman is one of the issues the direction insists on. Anyone who goes to the theater expecting only a pochade will find something more bitter.

The second thing is the ending. In the last lines it is Paolino, not Perella, who discovers himself to be the real beast: the joy at the danger averted is spoiled by the awareness of having pushed the woman he loves into another man's arms. It is the quintessential Pirandellian reversal, and the reason the title, which looks like the label of a moral fable, is really a question.

Third thing, a practical one: the single week of performances. Unlike other titles of the Quirino season, which stay on for two weeks, this one is on the bill for six days. If you want a good seat in the orchestra, especially for the Saturday and Sunday matinees, you should book early.

How to get to Teatro Quirino

Teatro Quirino, at via delle Vergini 7, is in the Trevi district, between via del Corso and the Trevi Fountain, in the historic center. You can walk there from the Barberini and Spagna stops of metro line A.

By metro

From the Barberini stop you go down via del Tritone toward via del Corso and, at the level of the Trevi Fountain, you enter the little streets of the district until you reach via delle Vergini. From the Spagna stop you cross the via Condotti area to via del Corso: the route is a little longer, but very pleasant before a March matinee.

By bus

Many lines run along via del Tritone and via del Corso or stop around piazza Venezia. The fastest combination depends on where you start: the Atac route planner shows it in real time.

By car and taxi

The historic center is a limited traffic zone: if you arrive by car, you have to leave it outside the ZTL and continue on foot or by public transport. For the evening performances, leaving after 23:00, a taxi is the most convenient way to get back.

My advice for visiting L'uomo, la bestia e la virtù with Vanessa Gravina at Teatro Quirino, March 16 to 21, 2027

My advice is to read or reread the text before you go. L'uomo, la bestia e la virtù is short, three quick acts, and you can find it in Maschere nude and in many cheap editions. Knowing how it ends ruins nothing, because the pleasure of the comedy is in how it gets there, and anyone who knows the starting lines will better appreciate the choices of Roberto Valerio's adaptation, who also wrote the rewrite of the text.

The second piece of advice is about the seat. The production bets on a dreamlike set, with the characters suspended in an undefined time: it is a show you also enjoy as a whole, and in our opinion Quirino's first balcony offers a more complete view of the stage than the back rows of the orchestra. To follow the expressions of Vanessa Gravina and Max Malatesta, however, the center orchestra is better.

Third piece of advice: choose the date according to the kind of evening you want. The evening shows on Tuesday, Wednesday and Friday let you have dinner downtown after the show. The Thursday, Saturday and Sunday matinees leave the evening free. In March, when the matinees let out, the Trevi district is still full of people: a walk to the fountain is almost a must.

Another well-known fact, yet rarely cited

It is well known that Vanessa Gravina is a television face, from Incantesimo to Il paradiso delle signore. It is less often mentioned that her theater career began with Giorgio Strehler: in 1991, at age 17, she was Hilde in Ibsen's The Lady from the Sea at Piccolo Teatro di Milano. From there she went through Luigi Squarzina, Liliana Cavani, Armando Pugliese, Geppy Gleijeses, and built a repertoire that runs from Greek tragedy, Electra, The Trojan Women, Antigone, to Plautus, Genet and Agatha Christie.

It is just as well known that L'uomo, la bestia e la virtù is a comedy by Pirandello. It is less well known that the text comes from a short story written 13 years earlier, Richiamo all'obbligo, and that the author himself did not call it a comedy but an apologue, that is, a tale with a moral. A moral that, as often happens in Pirandello, turns upside down in the last lines.

Finally, a fact about the theater that hosts the show. Quirino today carries, next to its historic name, that of Vittorio Gassman. That is often remembered. It is less often remembered that in June 1899 Maestro Antonino Palminteri stepped onto its podium for Verdi's I Lombardi and Puccini's Manon Lescaut. Before being a home for drama, Quirino was an opera house.

The Trevi district around Quirino

Teatro Quirino is in the Trevi district, between via del Corso and the Quirinale hill. In a few minutes on foot you reach the Trevi Fountain, the Quirinale, piazza Colonna and Galleria Alberto Sordi.

The Trevi Fountain

The Trevi Fountain is a few dozen meters from the theater entrance, so close that the first Quirino, in 1871, reached right up to the basin. Opposite the fountain is the church of Santi Vincenzo e Anastasio a Trevi.

The Quirinale and the Scuderie

Going up through the little streets of the district you reach the square of Quirinal Palace, with one of the widest views over the rooftops of the center. Opposite are the Scuderie del Quirinale, home to major exhibitions: a visit before the Saturday matinee is a good plan for a March day.

Via del Corso and piazza Colonna

Heading down toward via del Corso you come to Palazzo Sciarra, on whose grounds the first theater was born, and a little farther north piazza Colonna. On the opposite side opens Galleria Alberto Sordi, a useful shelter in case of rain before the show.

The right photo to take at L'uomo, la bestia e la virtù with Vanessa Gravina at Teatro Quirino, March 16 to 21, 2027

The right photo is taken outside, under the canopy that Marcello Piacentini added to the entrance in the 1950s and that remains the distinctive mark of the facade on via delle Vergini. With the sign lit and the show poster with the names of Vanessa Gravina, Max Malatesta and Nicola Rignanese, it is the image that tells the story of the evening: an Italian-style theater on a little street in the center, a stone's throw from the most photographed fountain in the world.

No photos during the show: the theater's rules require it, and so does respect for the actors, and in a production built on lights and dreamlike atmospheres a flash ruins the scene for everyone. Before it starts, if the house staff allow it, a shot of the horseshoe hall from the balcony, without flash, captures the nineteenth-century architecture renewed by Piacentini.

Anyone who chooses a matinee has one more advantage: when you come out, around 19:00 on a March day, the sky is at dusk and the Trevi Fountain is already lit. It is best to photograph it from the side steps, where the crowd is thinner, and maybe look for a balcony with flower vases in the little streets around: a discreet nod to the ending of the comedy.

Some important events that happened here in history

The history of Teatro Quirino spans more than 150 years of Rome as capital. In 1871, right after the end of the temporal power of the popes, Prince Maffeo Barberini Colonna di Sciarra has a wooden theater built on the grounds of Palazzo Sciarra, to a design by Giulio De Angelis and Francesco Marra. The repertoire is popular, Pulcinella shows and operettas for the middle class of the new capital.

In 1882 the theater is dismantled to open a street between via del Corso and the Trevi Fountain and rebuilt in masonry a few meters farther on. In 1898 the interiors are enriched with velvets and gilded stucco, and the program opens to opera and ballet: in June 1899 Antonino Palminteri conducts I Lombardi and Manon Lescaut.

In 1914 Marcello Piacentini adds the third tier of boxes and the retractable roof. From 1946 the theater is run by the Ente Teatrale Italiano, which also places its own offices there. In 1954 Piacentini redesigns it with the cantilevered tiers, and Quirino reopens on October 13, 1955. In 2009 management passes to Gitiesse Artisti Riuniti of Geppy Gleijeses, in 2015 to Quirino srl, with Guglielmo Ferro as artistic director. In this history, 1919, the year of the Milan debut of L'uomo, la bestia e la virtù, falls halfway between Piacentini's two interventions: the text and the hall are almost the same age.

Who has passed through L'uomo, la bestia e la virtù with Vanessa Gravina at Teatro Quirino, March 16 to 21, 2027

Very different performers have passed through the history of L'uomo, la bestia e la virtù. The first was Antonio Gandusio, at the head of the company that brought the text to its Milan debut on May 2, 1919. Then, in film, Totò and Orson Welles in Steno's 1953 film, with Viviane Romance. Today it falls to Max Malatesta, Vanessa Gravina and Nicola Rignanese to pick up that legacy, in a production that looks more to nightmare than to farce.

Through Teatro Quirino, before the actors, passed the men who made it: Prince Maffeo Barberini Colonna di Sciarra, the architect Giulio De Angelis, Marcello Piacentini. On the podium, in 1899, Antonino Palminteri. In recent management, Geppy Gleijeses and Guglielmo Ferro. And Gleijeses is also the director who directed Vanessa Gravina in Witness for the Prosecution, the first Italian staging of Agatha Christie's classic.

In the same season other drama and repertoire titles pass through Quirino, such as Six Characters in Search of an Author, another Pirandello, and Il viaggio di Francesco. Anyone who wants to build a small Pirandello itinerary in the Rome season finds two stops of opposite character at Quirino: the theater within the theater of Six Characters and the bitter farce of the 1919 apologue.

Who to go with to see L'uomo, la bestia e la virtù

L'uomo, la bestia e la virtù is a comedy for an adult audience: the plot revolves around an adultery, a hidden pregnancy and an aphrodisiac, and the direction insists on the murkier sides of the characters.

For students

For anyone studying Pirandello in high school, the show is a good chance to see on stage a text less often taught in school than Right You Are (If You Think So) or Six Characters. The theater does not indicate age limits, but in our opinion the themes make it suitable from late adolescence.

For television fans

Those who follow Il paradiso delle signore will find Vanessa Gravina in a different register, funnier and crueler. Those who have seen I topi by Antonio Albanese will recognize in Nicola Rignanese an actor with great physical presence, suited to the role of the Beast.

As a couple

A comedy about marriage, hypocrisy and appearances is, in our opinion, also an excellent topic of conversation for a couple on the way out: there is plenty to discuss about who is really the Man, who the Beast and who the Virtue.

Accessibility at Teatro Quirino

Teatro Quirino has a page on accessibility on its official website. For access conditions and seats reserved for people with disabilities, the contact is the theater's box office.

Before booking

Quirino is a historic theater, remodeled several times: it is best to ask which sections can be reached without stairs before choosing a seat, especially for the balconies and the gallery.

Getting there

The little streets of the Trevi district are paved with sampietrini and often crowded with tourists. For people who have difficulty getting around, a taxi to the start of via delle Vergini is the safest choice, particularly for weekend matinees.

Where to eat near Teatro Quirino

The Trevi district is full of restaurants, but many are aimed at the tourists crowding the fountain: to eat well before or after the show, it is best to walk a few streets away.

Before the matinee

For lunch before 17:00, the streets between via del Corso and the Pantheon offer trattorias, bakeries and historic cafes. Better to avoid places with the menu photographed in the window on the most crowded squares.

After the evening show

After the 21:00 performances dinner becomes an after-theater supper: the Pantheon area and the streets toward piazza Navona, 10 minutes on foot, stay lively until late even on weekdays.

March in Rome

In mid-March the days get longer and the evenings are still cool: if you are walking from the center, bring an extra layer, because leaving the theater after the evening show almost always happens after 23:00.

Frequently asked questions about L'uomo, la bestia e la virtù at Quirino

When is L'uomo, la bestia e la virtù at Teatro Quirino?

L'uomo, la bestia e la virtù plays at Teatro Quirino in Rome from March 16 to 21, 2027, with six performances: Tuesday the 16th, Wednesday the 17th and Friday the 19th at 21:00, Thursday the 18th, Saturday the 20th and Sunday the 21st at 17:00.

Who is in L'uomo, la bestia e la virtù with Vanessa Gravina?

In L'uomo, la bestia e la virtù at Quirino Vanessa Gravina is Signora Perella, Max Malatesta is Professor Paolino, Nicola Rignanese is Captain Perella. With them are Beatrice Fedi, Massimo Grigò, Franca Penone, Lorenzo Prestipino and Mario Valiani. Direction and adaptation by Roberto Valerio.

What is L'uomo, la bestia e la virtù about?

L'uomo, la bestia e la virtù, a 1919 comedy by Pirandello, tells of Professor Paolino, lover of Signora Perella, who finds out she is pregnant and has to make her husband, a sea captain who is always away, spend his single night ashore with her, to save everyone's appearances.

How much do tickets cost?

Ticket prices for L'uomo, la bestia e la virtù are published by Teatro Quirino in the Subscriptions and Tickets 2026/2027 section of the official website. Tickets are bought online from the show's page or at the box office at via delle Vergini 7.

Is the show suitable for young people?

Teatro Quirino does not indicate age limits for L'uomo, la bestia e la virtù. The comedy deals with adultery, a hidden pregnancy and an aphrodisiac, in farcical but also raw tones: in our opinion it is suitable from late adolescence, including as school enrichment on Pirandello.

How do I get to Teatro Quirino?

Teatro Quirino, at via delle Vergini 7, is in the Trevi district, a few steps from the Trevi Fountain. You can walk there from the Barberini and Spagna stops of metro line A. A car is not recommended because the historic center is a limited traffic zone.

Who is Roberto Valerio?

Roberto Valerio, director of L'uomo, la bestia e la virtù at Quirino, also wrote the adaptation of the text. With Vanessa Gravina he has already made Molière's Tartuffe, with Giuseppe Cederna, and Chekhov's Uncle Vanya in 2022.

Final advice on L'uomo, la bestia e la virtù at Quirino

A fierce and funny Pirandello, with a lead who has known the author for 20 years, a director who has already worked with her twice and a company in which the same faces move from one mask to another, in a nineteenth-century theater a stone's throw from the Trevi Fountain. My advice is to choose the date carefully, because the week is only one and the times change from day to day, to book an orchestra or first balcony seat early and to go ready to laugh, knowing that on the way out the bitter taste of Pirandello's question will stay in your mouth: what do we really know about others?

Article written by the editorial team of Tour Leader Pro. Contact them for Private/Corporate/V.I.P. Tours and Experiences.

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