Teatro Vittoria

Teatro Vittoria is at Piazza di Santa Maria Liberatrice 10, 00153 Rome, in Testaccio, and it is open and in full season: it is run by the Attori & Tecnici cooperative, with Viviana Toniolo as artistic director. You get in only with a ticket for a show. For the 2026-2027 season the full price is 27 euros in the orchestra and 21 in the gallery, plus a 3 euro presale fee, and you buy it at the box office, by phone or online through the Vivaticket circuit indicated by the theater.

It is not an Italian-style theater with boxes, stucco and chandeliers. It is a drama hall carved out in 1986 on the ground floor of a postwar apartment building, where for years the Cinema Vittoria had operated. From the square you see an inhabited building with the sign and the entrance among the planters. Anyone looking for a monument will be disappointed. Anyone looking for a neighborhood hall with a loyal audience and a long program finds exactly what they were looking for.

Data checked on September 29, 2026 on the Teatro Vittoria website, in the pages on prices, subscriptions, contacts, history of the hall and directions, and on the tourist portal of Roma Capitale. The season has already started: the first title was on stage from September 22 to 27. Special prices, matinee times and discounts change from one show to another, so before heading out it's best to open the page of the individual title or call the box office.

At a Glance: Address, Hours, Ticket

• Address: Piazza di Santa Maria Liberatrice 10, 00153 Rome, Testaccio rione.
• Operator: Teatro Vittoria, Attori & Tecnici cooperative, artistic direction by Viviana Toniolo. Switchboard 06 5781960, email info@teatrovittoria.it.
• How to get in: only with a ticket for a show, for a Tè letterari meeting or for an event on the program. No free visits of the hall.
• Price 2026-2027: full 27 euros in the orchestra and 21 in the gallery, plus a 3 euro presale fee. Reduced 22 and 17 euros, under 18 13 and 11 euros.
• Box office: Monday 10-13 and 15.30-19, Tuesday to Saturday 11-20 without a break, Sunday and holidays 10-13 and 15.30-19. Phone 06 5740170.
• How to get there: Piramide metro stop, tram 3, buses 83, 75, 23, 280, 716, 781, 170 and 30 according to the theater's directions.
• Accessibility: two spaces for people with disabilities in the balcony and access with a stairlift, according to the operator. An audio description service is announced on the site.

Where It Is and What You Really See

Piazza di Santa Maria Liberatrice is the central square of Testaccio, and takes its name from the church that faces onto it. The theater occupies the ground floor of a residential building on the side of the square, with the entrance on the street. There is no churchyard or monumental portico. You arrive from the sidewalk, pass among the planters that the operator itself cites as a landmark, and you are right in the foyer.

The foyer is described by the theater as bright, and on the lower floor there is a space that on rental evenings becomes a buffet area or reception desk. The tourist portal of Roma Capitale also notes a bar. These are simple amenities, typical of a neighborhood hall. The appeal, if you can call it that, is exactly this: a real drama theater, with its regular audience, wedged into the life of a working-class rione and not in a historic palace.

The hall has red velvet seats in the orchestra and in the balcony. According to the technical sheet published by the operator, the seats are 378 in the orchestra and 140 in the balcony, two of which are reserved for people with disabilities, for a total of over 500. The history of the hall, again on the theater's site, speaks instead of 560 seats at the reopening in 1986. The operator doesn't explain the difference between the two numbers.

The stage is more than 11 meters wide, with wings in different colors and access from the dressing rooms or from a retractable staircase that descends into the orchestra. The technical equipment includes projectors, wireless microphones, audio mixers, a video projector and a cinema screen, as well as air conditioning. The screen, in our view, is a thread that ties the hall to the cinema it came from, even if today it serves mainly for conferences, presentations and private events.

The operator doesn't publish on the site information about the coat check, the opening time of the hall before the show, or the rules for entering after the show has started. These are questions to ask at the box office, especially for premieres and sold-out dates. The tourist portal of Roma Capitale, for hours, in turn refers to the theater. The practical rule is to arrive with some margin and pick up your tickets before the line forms.

Around it is the neighborhood that was born, the history published by the theater tells, as a frontier zone with the first public housing for cart drivers and workers of the nearby slaughterhouse. Today Testaccio is a residential rione, crowded in the evening, with the Aventine Hill on one side, the Pyramid of Cestius and Porta San Paolo on the other. The theater is part of the landscape of the square, not a separate attraction.

In our view the Vittoria should be read together with the other halls of the city of similar size. The Teatro India works in a former plant on the Tiber, the Teatro Palladium in Garbatella in a cinema from the 1920s, the Teatro Argentina is the great historic hall of the center. The Vittoria is the one most tied to a resident company and a comedy repertoire, with an audience of subscribers who return every season.

A Curiosity About Teatro Vittoria

The name outlived the building. According to the history published by the theater, already in the early 20th century the Vittoria was the theater of Testaccio, but it was a two-story building facing a square that was still unpaved. After the Second World War that building was demolished and a modern apartment block rose in its place. The name passed to the cinema on the ground floor, and then to the drama hall of today.

Three different lives, then, under the same sign: variety, the neighborhood cinema, drama. The place is the same, the square is the same, but the walls are not. It's a difference that matters when you hear that the greats of avanspettacolo passed through the Vittoria's stage. On the stage of that Vittoria yes, according to the theater. On this stage, built in 1986, no.

The theater tells that in the old building they did variety, the genre that would later be called avanspettacolo, and it names Aldo Fabrizi, Totò and Anna Magnani. The operator doesn't publish posters or documents in support, and the story should be taken as a memory of the neighborhood and the hall more than as verifiable chronology. The fact remains that in Testaccio popular entertainment has a long history, earlier than cinema.

If you like coincidences, you can notice that the hall of today keeps among its equipment a cinema screen and a video projector, that is the tools of the cinema that preceded it. The operator lists them among the technical equipment for those who rent the hall. No official source links this choice to the history of the building, and it is probably just a practical need for conferences, screenings and presentations.

One Thing Nobody Tells You About Teatro Vittoria

The title that made the company famous is Rumori fuori scena by Michael Frayn, in the translation by Filippo Ottoni and directed by Attilio Corsini. According to the account published by the theater, Corsini was skeptical at first: he feared that English humor wouldn't work with an Italian audience. The show instead stayed in the repertoire for decades, with some actors of the first version still on stage in the most recent revivals.

The theater also tells of an episode that seems written on purpose for a comedy about the theater. During a performance, in the second act, the actor Sandro De Paoli fainted on stage. The audience burst out laughing, convinced it was part of the show, because Rumori fuori scena is precisely the story of a company where everything goes wrong. The source is the theater itself, and it should be read as a house anecdote, not as a news report.

The other thing that is rarely said is that the Vittoria is run by a cooperative, not by a private impresario or a public body. The history published by the operator insists on one point: the company chose to bet on its own name as a brand and guarantee, instead of on the draw of a single famous actor. For the spectator it means faces that return from season to season, and a recognizable repertoire.

The practical consequence is the audience. A hall that lives on subscriptions, series and schools has regular spectators who know the place and its rhythms. Someone arriving for the first time may find themselves among spectators who have known each other for years. It's not a flaw. It's a sign that the theater works as a neighborhood institution, as well as a stage for touring titles.

How Did It Go from Variety to Cinema to Drama?

The first phase is that of the two-story building, active according to the theater since the early years of the 20th century. Testaccio was then a working-class neighborhood under construction, tied to the slaughterhouse and the work of the cart drivers, and the Vittoria was its place of entertainment. The operator doesn't give the year of opening or the name of the first owner, so any date more precise than this remains without an official source.

The second phase begins after the war. The history published by the theater speaks of the building frenzy that changed the city in those years: the building was torn down and replaced by an apartment block, with the Cinema Vittoria on the ground floor. It was built, again according to the operator, by an entrepreneur named Amati. The cinema had an orchestra and a balcony, the same layout the hall still keeps today.

For years the cinema was the reference point for the entertainment of Testaccio's residents, the theater writes. The tourist portal of Roma Capitale adds that it stayed in operation until the end of the 1970s. The operator's technical sheet describes the starting situation with a precise expression: a suburban cinema closed for years. Testaccio, in those years, was not the sought-after rione it later became.

In the meantime, in 1977, Attilio Corsini and Viviana Toniolo had founded the Attori & Tecnici cooperative. The company had therefore existed for almost a decade before having a hall of its own. In May 1986 the renovation works on the old cinema began, entrusted to the architect Enrico Nespega. In December of the same year Teatro Vittoria reopened as a drama hall, with 560 red velvet seats in front of a large stage.

Since then the hall has remained in the hands of the same cooperative. Corsini oversaw its artistic choices until his sudden death in 2008, after which the artistic direction passed to Viviana Toniolo, who still holds it in the 2026-2027 season according to the contacts page. Few Roman theaters of this size have such a long continuity of management, almost 40 years with the same company.

The operator today presents the Vittoria as a stable theater of public interest, in the technical sheet for those who rent the hall. Besides the season, the site lists an acting school aimed at spectators, activities for schools, productions that go on tour and rental of the hall for events. The passage from a closed cinema to a hall with activity all year round is, in our view, the real story of the building.

The Advice I Give You for Visiting Teatro Vittoria

The advice is to look at the gallery before the orchestra. The full price is 27 euros in the orchestra and 21 in the gallery, and in a hall of this size the balcony offers an overall view of the stage that works very well for light comedy. Six euros of difference per ticket, for a couple, is 12 euros. For very intimate shows, with low voices and little staging, the orchestra remains instead the best choice.

Whoever has time to stop by the box office has one more option. The theater sells the Meglioprima formula at 18 euros, single seat, with 100 tickets for each performance, available only at the box office. They can't be bought online and can't be booked by phone. For those who live or work in the area, or who pass through Testaccio during the day, it's the cheapest way to see a show on a subscription basis without subscribing.

The reduced price for under 35, over 65, holders of CRAL cards and affiliated groups costs 22 euros in the orchestra and 17 in the gallery, but is valid only Tuesday to Friday and until promotional seats run out. It is not valid on December 31, 2026. On weekends, then, you almost always pay the full price. If the date is flexible, moving to midweek is the choice that really saves money.

Arrive with some margin. The theater also offers a practical service that is often overlooked: before the show or during the intermission you can ask the box office to book a taxi, in collaboration with radiotaxi 3570. At the end of the evening it's a detail that spares you looking for a taxi on the street, especially when the show ends late and the whole hall comes out at the same time.

For a first time, in our view, it's best to choose a title from the house company or one on subscription, more than a single passing date. These are the shows with the most performances, the ones where the hall tends to fill up and the regular audience sets the tone of the evening. The single dates in October are instead the right choice for those who already know the theater and want to discover new texts and companies at a reduced price.

How Much Does It Cost and How Do You Buy a Ticket?

The 2026-2027 season prices published by the theater start from the full price: 27 euros in the orchestra, 21 in the gallery, plus a 3 euro presale fee. The reduced price costs 22 and 17 euros, again with a 3 euro presale fee, and is for under 35, over 65, people with 75 percent disability, holders of CRAL cards and affiliated bodies. Under 18 pay 13 euros in the orchestra and 11 in the gallery, with a 2 euro presale fee.

The official channel is the theater itself: the Teatro Vittoria prices and tickets page refers to the Vivaticket circuit for online purchase, while at the box office there is staff in the hall during opening hours. The contacts page specifies that ticket booking is done only by phone, at the box office number 06 5740170. The email botteghino@teatrovittoria.it gets replies from Tuesday to Saturday until 16.30.

Some titles have their own prices. For Addue and for PremiumPLUS+ the theater indicates 22 euros in the orchestra and 17 in the gallery. The shows of the October series A porte aperte cost 18 euros full price and 13 reduced, with the same price in the orchestra and in the gallery. The Tè letterari have a single ticket of 11 euros, reduced to 8 for over 65 and under 35. Before paying, always check the page of the individual title.

For those who plan to come back several times there are subscriptions. The fixed 13-show subscription costs 299 euros in the orchestra and 260 in the gallery, the flexible 13-show one 279.50 euros full price and 260 reduced, with a promotion at 227.50 euros for the first 100 subscribers. The multi-entry cards range from 144 euros for six entries to 390 euros for 20, and there is a card of 12 midweek entries at 204 euros.

Some rules to know beforehand. The box office doesn't accept American Express and Diners. Tickets bought at the box office or online are non-refundable, except for cancellation or replacement of the show. People with a 75 percent disability get the reduced price for themselves and for those who assist them. To use the Carta del Docente or the youth culture card, the theater asks you to contact the box office first.

The Teatro Vittoria page on Vivaticket gathers in a single list the shows on sale for the season, with dates and available sections. It's an affiliate link: if you buy from there Estate Romana receives a small commission, while the price for you stays the seller's. Before paying, check date, time and seat, and remember that reduced tickets are requested at the box office.

What Is on the Program in 2026-2027?

In the 2026-2027 season the program announces a busy start. Le belle notti opened the season from September 22 to 27, 2026, followed by Capitan Amazing from September 28 to 30. Then PremiumPLUS+ on October 1, Addue from October 2 to 4, Napule' on October 6 and 7, Santiago Reset on October 9. October is also the month of the series A porte aperte, which the theater offers with its own, lower prices.

October continues with La parabola discendente di un padre ambientalista on October 10 and 11, Contagio on October 13 and 14 and Happy Birth+Day on October 16, 17 and 18. In November comes one of the flagship titles of the subscription: L'ultima notte di Giordano Bruno, on stage from November 10 to 22, 2026, which the theater presents as a fierce, brilliant and surprising duel. Two weeks of performances indicate a title the hall is betting on.

Later the program announces Streghe da marciapiede from March 9 to 14, 2027, described by the theater as a black comedy with four prostitutes under investigation, and Giallo sai! on May 12, 2027. Many other titles are already on the page, but without dates published at the end-of-September check. The advice is to check the calendar on the theater's site as the season goes on, because dates are added title by title.

Alongside the season there are the series. The Tè letterari are afternoon meetings with a single ticket and a subscription of 25 appointments, at 150 euros or at 75 for those who already have the season subscription. Salviamo i talenti has reached its 17th edition, and the winning show enters the subscription. The site also has sections dedicated to the Romaeuropa Festival, to Lo spettatore critico and to a streaming program.

To find your way around the site it helps to know how the program is organized. The menu separates the shows in the subscription, those outside the subscription, the series A porte aperte, the Tè letterari, Salviamo i talenti and the other initiatives. Titles in the subscription usually have more performances and full prices, those outside the subscription can have their own rates. Each show page gives dates, times and prices of the individual title, which should always be checked there.

The opposite view, in our opinion, is this: the Vittoria is remembered almost only as the theater of light comedy and of Rumori fuori scena, and it's a reductive reading. The October program lines up many different titles, each on stage for one or two evenings. Whoever goes only for the sure laugh of the weekend misses the liveliest part of the programming, the midweek and reduced-price part.

Another Well-Known Fact, Yet Rarely Cited

The transformation of the cinema into a theater was very fast. According to the history published by the operator, the works began in May 1986 and in December of the same year the hall reopened with the new stage and the velvet seats. About seven months to turn a movie theater closed for years into a drama theater. The project is signed by the architect Enrico Nespega, as indicated by the theater and by the tourist portal of Roma Capitale.

The speed is explained, at least in part, by the layout of the building. The cinema already had an orchestra and a balcony, that is the basic structure of a theater hall. Most of the work concerned the stage, the dressing rooms, the systems. The operator doesn't publish the details of the works, so it's not possible to say which parts of the old cinema remained intact and which were redone.

The detail is of interest to those who look at the theater with an eye for urban history. A projection hall closed for years could have become anything, from a warehouse to a shop. The Vittoria is one of the cases in which a neighborhood cinema remained a place of entertainment, changing genre but not function, and staying in the same spot of the same square. Those looking for other examples in the city can compare it with the Palladium and with the Brancaccio.

The comparison with other halls born from a cinema helps to understand the Vittoria. At the Palladium in Garbatella the management today belongs to a university, as you read among our pages. Here the hall was born on the initiative of a company of actors looking for a home. The difference can still be felt in the program: at the Vittoria the programming revolves around a company and its subscribers, more than around an academic project or a festival.

The Right Photo to Take at Teatro Vittoria

The photo that tells the story of the Vittoria is taken from the center of Piazza di Santa Maria Liberatrice, toward evening, with the sign lit and the windows of the apartment building lit above the entrance. It's the image of a theater inside an inhabited building, which no close-up restores. It's best to widen the frame until it includes the street in front of the entrance.

Inside, the right photo is the empty hall before the lights go down, from the top of the balcony, with the red velvet of the rows and the stage still closed. The operator doesn't publish a written rule on photographs in the hall: the common sense of every theater applies, no flash, no filming and phone off from the moment the show begins. For stage photos the theater publishes a dedicated section on its site.

An alternative for those who love architecture: the square seen from the side opposite the entrance, with the theater in the background and the comings and goings of the rione in front. It's the photo that explains better than many words why the Vittoria is considered the theater of Testaccio. The advice is to shoot it in the hour before the show, when the line forms in front of the entrance and the square fills up.

How Do You Get There from the Center of Rome?

The theater indicates Piramide as the nearest metro station, and from there you arrive on foot crossing the neighborhood. Among surface transport the theater's page cites tram 3 and buses 170, 781, 83, 75, 23, 280, 716 and 30. The list is the operator's: Rome's lines often change route and number, so it's best to check on the transit company's planner before leaving.

According to the operator's technical sheet the theater can be reached in about 15 minutes from Termini station and is a few steps, again according to the operator, from the metro and from the train to Fiumicino airport. For those arriving from outside Rome by train, it's one of the easiest theaters to reach without a car, even on evenings when you leave late.

From Trastevere you can also walk, crossing the Tiber on Ponte Sublicio at the level of Porta Portese and continuing into the rione up to the square. It's the most convenient solution for those who dine on the other side of the river or sleep in the Trastevere area. At the end of the show the walk back is longer than it looks on the map: the taxi booked at the box office remains a sensible alternative.

By car, the thing to know is the ZTL. In Testaccio a limited traffic zone is in force, and the theater refers to the Roma Servizi per la Mobilità site for up-to-date hours and exemptions. The operator has an agreement with a parking lot at Via Galvani 57, behind the new Testaccio market: by presenting the voucher at the box office before the show you get a one euro discount.

For people with a disability, the operator indicates two reserved spaces in the balcony and access with a stairlift. It doesn't publish, however, the full description of the route, of the restrooms or of the seats in the orchestra. The advice is to phone the box office before buying, explain your needs and book the seat by phone, which remains in any case the only way indicated by the theater for reservations.

The theater's homepage announces an audio description service, useful for blind or visually impaired spectators. The operator doesn't say on the site for which titles and on which dates it is active. Here too the quickest way is to ask the box office. The tourist portal of Roma Capitale refers to the Roma Accessibile section for full information, but the source to prefer for the details of the individual evening remains the theater.

Some Important Events That Happened Here in History

Early 1900s: according to the history published by the theater, the Vittoria is already the theater of Testaccio, a two-story building facing an unpaved square. The neighborhood grows around the slaughterhouse and the public housing, and variety is the entertainment of working people. It is the phase for which the operator recalls the great names of avanspettacolo, but without precise dates or supporting documents.

Postwar: the building is demolished and replaced by a modern apartment block with the Cinema Vittoria on the ground floor, built by the entrepreneur Amati according to the theater. For years it is the reference hall of the rione. At the end of the 1970s, according to the tourist portal of Roma Capitale, the cinema stops operating and stays closed until the mid-1980s, like so many neighborhood halls in the same period.

1977: Attilio Corsini and Viviana Toniolo found the Attori & Tecnici cooperative. In the early 1980s the company brings Michael Frayn's Rumori fuori scena to Italy, destined to become its best-known title. The theater's pages don't agree on the year of the Italian debut: one indicates 1982, another counts 30 years of life of the show in 2013. In both cases we're talking about over 40 years of repertoire.

1986: in May the renovation works on the cinema begin to a design by Enrico Nespega, and in December Teatro Vittoria reopens as a drama hall. It's the birth date of the theater as you know it today. From that moment the cooperative has a stable home in Testaccio, and the rione has a stage again after the decades of cinema and the years of closure.

2008: Attilio Corsini dies suddenly, and the artistic direction passes to Viviana Toniolo, who still holds it. In the following years the theater widens its activity with series such as Salviamo i talenti, literary meetings, a school for spectators, touring productions and a streaming program. In September 2026 the 2026-2027 season begins, with the first title on stage from September 22.

Who Has Passed Through Teatro Vittoria

In the theater's memory, on the stage of the old early 1900s building performed Aldo Fabrizi, Totò and Anna Magnani, names that the operator cites as examples of the variety artists who passed through Testaccio. The account comes from the hall itself, with no posters or dates in support. It's plausible, given the role of Roman variety in those years, but it stays on the level of the place's tradition rather than of the document.

In today's hall the first name is that of Attilio Corsini, actor, author and director, founder of the cooperative and of the theater. Next to him Viviana Toniolo, cofounder and later artistic director. The theater's site recalls that after Corsini's death the journalist Gianni Minà dedicated a commemorative article to him, a sign of the weight the figure had in Rome's cultural world well beyond the perimeter of Testaccio.

Rumori fuori scena has brought generations of the company's performers to the Vittoria stage. In the revival of January 2016, according to the show's page, the cast was Viviana Toniolo, Annalisa Di Nola, Stefano Messina, Carlo Lizzani, Roberto Della Casa, Marco Simeoli, Claudia Crisafio and Sebastiano Colla. The original sets are by Bruno Garofalo and the music by Arturo Annecchino, while the Italian translation of Michael Frayn's text is signed by Filippo Ottoni.

Then there are the guest companies that pass through every year for one or more evenings, and the spectators. The theater lives on subscribers, on the schools that follow the dedicated activities, on those who take part in the acting school for spectators or in the Tè letterari. They are not names to list, but they are the continuity of the hall. Those looking for other Roman places tied to entertainment will find among our pages the Alberto Sordi House Museum.

Facts, Tradition and Legend: What Is Documented?

Documented, because published by the operator and confirmed by the tourist portal of Roma Capitale: the demolition of the original building in the postwar period, the cinema on the ground floor of an apartment block, the closure of the movie theater, the 1986 renovation to a design by Enrico Nespega, the reopening in December of the same year with 560 red velvet seats. These are the data on which the two official sources coincide, and those to use with confidence.

Tradition of the place, because told by the theater without attached documents: the presence of Fabrizi, Totò and Magnani on the stage of the old building, and the very definition of the Vittoria as the theater of Testaccio since the early 1900s. There are no reasons to doubt it, but no posters or dates either that would allow saying in which year and with which show. Neighborhood memory, in these cases, is the main source.

House anecdote, almost legend: Sandro De Paoli fainting on stage during Rumori fuori scena, with the audience laughing and thinking it was a gag. The theater tells it, and it's plausible, but it remains an internal account. The year of the show's Italian debut is also uncertain: the theater's pages don't agree between 1982 and 1983. The substance, a title in the repertoire for over 40 years, doesn't change.

A note on the numbers of the hall. The theater's history says 560 seats in 1986, the technical sheet for those who rent the hall counts 378 seats in the orchestra and 140 in the balcony, that is 518. The sources don't agree, and the operator doesn't explain the difference. For the spectator it changes little: it remains a medium-sized hall, where even from the last rows you see and hear well.

What Place Does the Vittoria Have in the Life of Testaccio?

In Testaccio the Vittoria is the theater of the main square, and its entrance among the planters makes it a landmark even for those who never go in. In the evening, before the show, the line of the audience mixes with the passing of those who live in the rione and are heading home. It's a neighborhood theater in the literal sense, with the apartments of the building above the hall.

The rione around has changed a great deal since the years of the closed cinema. The slaughterhouse that the theater's history cites as the origin of the working-class neighborhood has changed use, the market has a new home that the theater itself uses as a reference for the affiliated parking, and the working-class rione has become residential. Those who want to understand its history and geography will find among our pages a broad overview in the 22 rioni of Rome, with the position of Testaccio relative to the historic center and the neighboring rioni.

The theater also works outside show evenings. The site lists an acting school designed for spectators, that is for those who want to understand theater from the inside without making it a profession, an office dedicated to schools, the company's productions that go on tour and rental of the hall for conferences and events. It's an activity that keeps the doors open in the daytime too, and that ties the hall to the rione more than the evening season alone does.

Within the system of Roman theaters, the Vittoria occupies a precise space between the large halls of the center, like the Quirino, the Eliseo or the Sistina, and the smaller experimental halls. The Vascello in Monteverde and the Ghione near St. Peter's are the most natural comparisons for size and audience.

On the south side the Vittoria is also the gateway to the Ostiense of theaters and former factories. Beyond the Pyramid begins the neighborhood of the Gasometer, of the Centrale Montemartini and of the former Porto Fluviale, with Teatro India on the river. Those who follow the Roman theater season find in this stretch of the city a concentration of halls that is rare outside the historic center.

When Is It Closed and What Shouldn't You Expect?

The Vittoria is open to the public only on show evenings and afternoons. On days with no titles on the program the hall is closed, and the box office follows the hours indicated by the theater, with Monday and Sunday on split hours. The site doesn't publish visits of the hall outside the shows. Those who want to see the interior must buy a ticket or take part in an open event.

The 2026-2027 season runs from September to May: the last title with an already published date is Giallo sai!, on May 12, 2027. For the summer the theater doesn't indicate a program in the season pages. On December 31, 2026 reduced tickets are not valid, and the midweek promotions end when the dedicated seats run out. Whoever arrives at the last minute on a sold-out weekend risks going home.

The box office is the reference point on days without shows too, during the published hours. The box office email gets an answer from Tuesday to Saturday until 16.30, so a question sent on Saturday evening risks waiting until the following Tuesday. For an urgent problem, an exchange or a seat for a person with a disability, the phone remains the quickest way. On Sunday the box office opens in two time slots, tied to the matinees on the program.

Don't expect historic decorations, frescoed ceilings or gilded boxes: the hall is that of a postwar cinema renovated in the 1980s. Don't expect to park in front of the theater either, because of the ZTL and the traffic of the rione. And don't expect refunds if you change your mind: the theater provides them only for canceled or replaced shows. A date change, if possible, must be requested at the box office.

Eating in the Area

Testaccio is one of the rioni where Romans really go to eat, and for this reason it also attracts places built for those passing through only once. The signs to recognize are always the same: the photo menu in four languages, the barker who stops you on the sidewalk, items with no price or marked "a voce", the menu that differs between the one displayed outside and the one brought to the table.

With an evening show the problem is time. Places open all day, without a break between lunch and dinner, serve at any hour but rarely cook to order. Fresh pasta rolled out in the window for passersby is often more scenery than cooking. None of these signs is enough on its own, but when two or three add up the advice is to go on one more block.

Romans avoid these places not out of snobbery but from experience of price and quality: the bill grows, the dish doesn't. In the area around the square you eat well even on a modest budget, as long as you choose where the residents sit. For those who want to start from already selected addresses there is the list of addresses on Google Maps, to consult before the show.

What to Combine in a Day

For a matinee, the ideal morning starts at the Pyramid of Cestius and the Non-Catholic Cemetery, continues at Porta San Paolo with the Via Ostiense Museum and a stretch of the Aurelian Walls. They are all reachable on foot from the theater's square, and let you arrive at the show without taking any transport.

Those who prefer churches and gardens climb the Aventine: Santa Sabina, the Villa del Priorato di Malta, Santa Prisca and San Saba. Below the hill are the Circus Maximus, the Mouth of Truth and the Forum Boarium, a walk that ends along the Tiber toward Testaccio.

The route from the river is another possibility. From Ponte Sublicio, which connects Testaccio to Porta Portese, you go into Trastevere, or you go up the Tiber toward the Tiber Island. In the opposite direction, toward the south, you reach the Ostiense and the Basilica of St. Paul Outside the Walls, with Garbatella a short distance away.

For those who collect halls, a double show is possible. A matinee at the Vittoria and an evening one at Teatro India or at the Palladium, or a film in a historic hall like the Nuovo Cinema Sacher or the Cinema Troisi, both in the Trastevere area. If you travel with kids, you'll find ideas on our page Rome with Kids.

Frequently Asked Questions

Where is Teatro Vittoria?

Teatro Vittoria is at Piazza di Santa Maria Liberatrice 10, 00153 Rome, in the Testaccio rione. The entrance is on the square, on the ground floor of a residential building. The nearest metro station indicated by the theater is Piramide, and among surface transport the operator cites tram 3 and several bus lines. From Termini station the theater estimates about 15 minutes.

How much does a ticket to Teatro Vittoria cost?

For the 2026-2027 season the full price is 27 euros in the orchestra and 21 in the gallery, plus a 3 euro presale fee. The reduced price is 22 and 17 euros, valid Tuesday to Friday until the promotional seats run out. Under 18 pay 13 and 11 euros plus 2 for presale. The Meglioprima formula costs 18 euros for a single seat, only at the box office, with 100 tickets per performance.

How do you buy tickets?

Tickets are bought at the theater's box office, in Piazza di Santa Maria Liberatrice, or online on the Vivaticket circuit, which is the one indicated by the theater on the prices page. Booking is done only by phone, at the box office number 06 5740170. The box office doesn't accept American Express and Diners. Tickets are non-refundable, except for cancellation or replacement of the show by the theater.

Who runs Teatro Vittoria?

The theater is run by the Attori & Tecnici cooperative, founded in 1977 by Attilio Corsini and Viviana Toniolo. Corsini oversaw its artistic choices until his death in 2008, and since then the artistic direction has been Viviana Toniolo's. The company renovated the former Cinema Vittoria in 1986 and has run it continuously since, with a season, series, a school for spectators and touring productions.

Is Teatro Vittoria wheelchair accessible?

The operator indicates two spaces reserved for people with disabilities in the balcony and access with a stairlift. It doesn't publish the full description of the routes and services. People with a 75 percent disability are entitled to the reduced price for themselves and for those who assist them. The advice is to phone the box office, explain your needs and book by phone before showing up at the hall.

Where do you park near Teatro Vittoria?

In Testaccio there is a limited traffic zone, and the theater refers to the Roma Servizi per la Mobilità site for hours and exemptions. The operator has an agreement with a parking lot at Via Galvani 57, behind the new Testaccio market: by presenting the voucher at the box office before the show you get a one euro discount. With public transport, however, it's easier to get there.

What is on the program in the 2026-2027 season?

In the 2026-2027 season the program announces, among others, Capitan Amazing from September 28 to 30, Addue from October 2 to 4, Contagio on October 13 and 14, Happy Birth+Day from October 16 to 18, L'ultima notte di Giordano Bruno from November 10 to 22, 2026, Streghe da marciapiede from March 9 to 14, 2027 and Giallo sai! on May 12, 2027. Other titles are still waiting for dates.

Is a subscription worth it?

It's worth it for those who plan to see at least 10 or so shows in the season. The fixed 13-title subscription costs 299 euros in the orchestra and 260 in the gallery, the flexible one 279.50 euros. The multi-entry cards start from 144 euros for six shows and go up to 390 for 20. Those who see three or four titles a year spend less with the midweek reduced tickets or with the Meglioprima formula at the box office.

Can you rent the hall of Teatro Vittoria?

Yes, the operator publishes a page dedicated to renting the hall for events, conferences and presentations. The technical sheet indicates 378 seats in the orchestra and 140 in the balcony, a stage more than 11 meters wide, projectors, wireless microphones, mixers, a video projector, a cinema screen and air conditioning, as well as a foyer and a space on the lower floor for a buffet. Prices and availability are not published: they must be requested from the theater.

Who Wrote This and on Which Sources

The text comes from the editorial team of Tour Leader Pro, the Rome-based outfit that designs itineraries, visits and cultural events across Rome and Lazio. Fares, hours and booking methods reported here come from the official sources cited in the text as of the date given at the opening: the Teatro Vittoria website and the tourist portal of Roma Capitale. Let us know what you find changed.

Organizing an evening at the Vittoria for several people means moving early: booking goes through the box office phone, reduced tickets are valid only on certain days and promotional seats run out. For those who organize group trips with an evening at the theater in the program, a useful resource is Tour Leader Pro, which gathers tools and references for fieldwork.

An evening at the Vittoria fits well into a stay that combines the ancient Rome of Testaccio and the Aventine, the Ostiense of the former factories and the day trips out of town in Lazio, from the Castelli Romani to Tivoli. Those who want to line up different days, with realistic transfers and timing, need a plan. A useful resource for building a multi-day itinerary is Italy Planner.