The Forest at Teatro Vascello: Cristiana Morganti and Claudio Tolcachir, April 20 to 25, 2027

The Forest at Teatro Vascello: the show by Cristiana Morganti and Claudio Tolcachir is on at Teatro Vascello in Rome from April 20 to 25, 2027, at Via Giacinto Carini 78, in Monteverde Vecchio. There are six performances: Tuesday, April 20 to Friday, April 23 at 21:00, Saturday, April 24 at 19:00 and Sunday, April 25 at 17:00. The show runs one hour and 10 minutes. On stage is Cristiana Morganti, for more than 20 years a soloist with Pina Bausch's Tanztheater Wuppertal, with actress Lisa Lippi Pagliai, directed by Argentine playwright Claudio Tolcachir, with choreography by Morganti herself. It's produced by Carnezzeria with the Théâtre de la Ville in Paris, Teatri di Pistoia, Emilia Romagna Teatro ERT, Teatro Nazionale di Genova and Teatro Biondo in Palermo. The Vascello is reached by bus 75, which stops in front of the entrance, or lines 44, 710, 870 and 871, and by train from Ostiense to Quattro Venti station, a few steps away. Tickets are sold from the official show page on the Teatro Vascello website, which links to the authorized presale network, or at the theater box office, and prices are published on the venue's official channels.

Language: performed in Italian. No English version or English surtitles are announced.

The Forest is a contemporary fairy tale made of words and movement: a woman gets lost in a forest of the mind where she meets the girl she used to be, the parents she has lost and the shadows of classical theater. The subtitle says it in one line: "I know where I am, I've been lost here before." Below you'll find dates and times, what the show is about, the bios of Morganti, Tolcachir and the creative team, the history of Teatro Vascello, how to get there, where to eat and frequently asked questions. The show is in Italian.

The Forest at Teatro Vascello: dates, times and running time

The Forest has six performances at Teatro Vascello, from April 20 to 25, 2027, each one hour and 10 minutes long.

The schedule

Tuesday the 20th, Wednesday the 21st, Thursday the 22nd and Friday the 23rd at 21:00. Saturday the 24th at 19:00. Sunday the 25th at 17:00. It's the Vascello's usual pattern: evenings on weekdays, an earlier time on Saturday, a matinee on Sunday.

Running time

One hour and 10 minutes, with no intermission listed on the official page. The 21:00 shows end around 22:10, the Saturday one just after 20:00, the Sunday one around 18:10: there's time left for an unhurried dinner.

Full credits

By Cristiana Morganti and Claudio Tolcachir. With Cristiana Morganti and Lisa Lippi Pagliai. Directed by Claudio Tolcachir, choreography by Cristiana Morganti, assistant director Tommaso De Santis. Set by Cosimo Ferrigolo, costumes by Nika Campisi, lighting by Alice Colla. From an idea by Gaia Silvestrini. Stage manager Gianluca Tomasella. Set workshop Attosecondo, backdrop image Lorem, production photos by Alfredo Toriello.

The production

The show is produced by Carnezzeria together with the Théâtre de la Ville in Paris, Teatri di Pistoia, Emilia Romagna Teatro ERT / Teatro Nazionale, Teatro Nazionale di Genova and Teatro Biondo in Palermo, in collaboration with Timbre4 Madrid, with coordination and distribution by Aldo Miguel Grompone. Such a wide network of co-producers, between Italy and France, says a lot about the anticipation around the project.

What The Forest is about

The Forest starts from Cristiana Morganti's reflections and autobiographical material and weaves them with the stories of characters from classical theater, archetypes of female sensibility and experience. That's the premise as the Vascello presentation tells it.

A contemporary fairy tale

Morganti and Tolcachir weave together stories that only seem far apart and build a contemporary fairy tale about emotional betrayal: the crisis in relationships between parents and children, the passing of time, the emotional wounds each of us carries. The piece mixes fairy tales, autobiography and Shakespearean echoes, and joins narrative construction with the poetry of movement.

Irony and disenchantment

The presentation stresses the two authors' typical gaze, ironic and disenchanted, alert to the tragicomic and sometimes grotesque sides of private grief. It isn't a gloomy evening: mourning and loss are the starting point, but the writing seeks the comic side of situations, as often happens in Tolcachir's theater and in Morganti's work.

Shadows, ghosts, visions

The figures Morganti brings on stage, alongside Lisa Lippi Pagliai, appear and disappear in Cosimo Ferrigolo's set. Offstage voices also converse with the protagonist, creating a complex emotional space inhabited by shadows, ghosts and visions.

The themes

Other themes move through the colorful world of the forest: deceptive memory, dementia, death, and the possibility of turning pain into life energy. Morganti's working material, partly published by the theater, contains two first-person portraits, of her father and her mother, that give a sense of the tone: tenderness, precise everyday detail and a humor that holds out even in the rooms of a hospice.

Claudio Tolcachir's director's notes

For Claudio Tolcachir, The Forest starts from the instant our lives shatter: the death of our parents, even when expected, confronts us with a primal uncertainty.

The woman and the girl

In his notes the director describes today's woman and the girl she once was, forced to face together the contradictions and unfamiliar sensations of a new time. A young woman wanders through the forest like a provocation of memory: she holds the secret keys to what has been lost, and looking her in the eye means looking time in the face.

The space

The forest is mental and endless, unsettling yet welcoming: a place to get lost in until you rediscover the face of long ago and that of today. Among the trees stands an abandoned phone booth, which Tolcachir describes as a promise, an invitation or a threat. The forest, he concludes, is a place of escape and also of finding again.

The costumes

Nika Campisi works in layers: the protagonist covers and uncovers herself with the clothes life puts on her shoulders, like the layers of an onion. The fabrics of maturity, the skin of youth, what we inherit and what we leave along the way.

The lighting

Alice Colla's lighting is, for the director, essential to building the show's dreamlike, mental atmosphere and following the emotional journey of women who are vulnerable, ironic, vital and unpredictable.

Who Cristiana Morganti is

Cristiana Morganti is an independent choreographer, dancer and actress, and from 1993 to 2014 she was a soloist with the Tanztheater Wuppertal Pina Bausch.

Training between Rome and Essen

She graduated in classical dance from the Accademia Nazionale di Danza in Rome and in contemporary dance from the Folkwang Hochschule in Essen. She studied in Denmark with the actors of Eugenio Barba's Odin Teatret and worked with Susanne Linke, Urs Dietrich, Joachim Schlömer and Felix Ruckert. From 1989 to 1992 she was in the company Neuer Tanz, directed by VA Wölfl and Wanda Golonka.

20 years with Pina Bausch

From 1993 to 2014 she was a soloist in Wuppertal: she danced in every show in the repertoire, took part in many new creations and appeared in Pedro Almodóvar's Talk to Her, from 2001, and Wim Wenders's Pina, from 2011. She still works regularly with the Pina Bausch Foundation as rehearsal director, and in 2024 she was Meryl Tankard's assistant director for Kontakthof Echoes of '78.

Moving with Pina and her first works

In 2010 she began working as a choreographer with the danced lecture Moving with Pina, which earned her the Premio Positano Léonide Massine in 2011 and the award of the French professional critics' association in 2020. A long collaboration with the Conservatoire national supérieur in Paris followed, for which she created Out of 12 in 2012, Sacré Printemps! in 2013 and Petit Rêve in 2017.

The 2014 solo and later shows

With her 2014 solo, still touring, she won the Danza&Danza award for best performer and choreographer: the show has been presented in more than 50 cities in Italy and abroad. A Fury Tale followed in 2016, with two dancers from the Tanztheater, a 2017 piece for the Aterballetto company, and Another Round for Five in 2019 at the Napoli Teatro Festival.

Paris, Locarno, Pistoia

In 2021 she created the site-specific performance In Another Place with dancer Kenji Takagi and cellist Emily Wittbrodt for the Musée de l'Orangerie in Paris. In 2022, with the premiere of Behind the Light, in which she returned to the stage as author and performer, she received the award of the Italian National Association of Theater Critics for her body of work. In 2023 she created Young Birds for the Junior Company of the Accademia Dimitri in Locarno. She is an associate artist of Teatri di Pistoia, one of The Forest's co-producers.

Who Claudio Tolcachir is

Claudio Tolcachir is a playwright, director, actor and founder of Teatro Timbre 4 in Buenos Aires, where he lived and worked until 2023 before moving to Madrid.

Timbre 4 and the Coleman family

In 1998 he founded the company Timbre 4, since 2001 also a multi-hall theater and acting school, a cultural landmark in Buenos Aires. His first international success came in 2005 with La omisión de la familia Coleman, a multi-award-winning play presented in Milan, Madrid, Paris, Lisbon, Dublin and New York, and still touring.

The Living Room Trilogy

With Tercer cuerpo and El viento en un violín, the Coleman play forms the Living Room Trilogy, collected in a volume published in Italy by Editoria & Spettacolo in 2012. Emilia, Dínamo and Próximo followed. His plays are staged in more than 20 countries and translated into six languages.

Awards

He has received the ACE, Clarín, María Guerrero, Teatro del Mundo and Teatro XXI awards and was nominated for the Konex Prize among the best contemporary directors. In Italy, in 2017, he won the Premio Ubu for Emilia as best foreign play, and in 2025 he received the Premio Maurizio Scaparro at the Maschere del Teatro Italiano. He was a Maestro of the École des Maîtres in 2022.

Actor and director

As an actor he has worked in more than 30 stage productions, with directors such as Daniel Veronese, Alejandra Boero, Norma Aleandro and Ciro Zorzoli, and on film in Héctor Babenco's El pasado and Diego Lerman's Una especie de familia. In Spain he has directed All My Sons, Copenhagen and Breaking the Code, among others, and at Teatro Romea in Barcelona the Catalan version of the Coleman play. In 2024 he was actor and director in Rabia, and writer and director of Los de Ahí.

Tolcachir and Rome

His bond with Rome is solid. In 2017 he directed Giulia Lazzarini in Emilia, a Teatro di Roma production. With Carnezzeria and the Piccolo Teatro di Milano he made Edificio 3, with Rosario Lisma, Giorgia Senesi and Valentina Picello, which premiered in 2021 at the Piccolo Teatro Studio Melato. In 2024 he directed Valentina Picello in Annibale Ruccello's Anna Cappelli, produced by Carnezzeria with Teatro di Roma and Teatri di Bari.

Lisa Lippi Pagliai and the creative team of The Forest

On stage alongside Morganti is Lisa Lippi Pagliai, an actress from Romagna born in 1997, who graduated in 2021 from the Accademia STAP Brancaccio in Rome.

Lisa Lippi Pagliai

After her diploma she earned a DAMS degree in 2024 and studied vocal technique at the Malagola advanced course, founded by Ermanna Montanari and Enrico Pitozzi. She began working in Rome, in theater and as a voice-over artist, and works with the company Bartolini/Baronio, which combines artistic and social practice. In 2022 she was a finalist for the Premio Hystrio alla Vocazione, and in 2024 she won best emerging actress at the inDivenire Festival.

Cosimo Ferrigolo, set

A set designer, spatial designer, stage manager and researcher, he graduated in set design from the Venice Academy of Fine Arts and holds a master's in theater and performing arts from IUAV, where he's a doctoral candidate. He works with OHT, Office for a Human Theatre, and with institutions such as the Guggenheim Collection in Venice. In 2025 he designed the set for Tolcachir's Anna Cappelli, which won Valentina Picello the Premio Ubu for best actress. He co-founded Extragarbo, a platform born in Venice in 2019.

Nika Campisi, costumes

After Brera she specialized in film costume at the Centro Sperimentale di Cinematografia, a pupil of Piero Tosi and Maurizio Millenotti, and works regularly with Gianluca Falaschi. In 2020, with Daniele Menghini and Davide Signorini, she won AsLiCo's Opera Education competition with La Cenerentola, which went all the way to the Théâtre des Champs-Élysées. She has designed costumes for Jan Fabre's Resurrexit Cassandra in Pompeii, for the Sferisterio in Macerata, the Regio in Parma, the Regio in Turin and the Maggio Fiorentino.

A curious fact about The Forest at Teatro Vascello, April 20 to 25, 2027

The best curious fact concerns how the text was born. The Forest doesn't start from a script, but from working material written by Cristiana Morganti in the first person, some excerpts of which the Vascello publishes: two short portraits, titled simply Father and Mother. The father is remembered for the things he loved teaching his daughter, sailor's knots and the names of the winds, recognizing plants by the smell of their leaves, swimming with eyes open underwater, and then, years later, in pajamas by the dining table, lost among slips of paper he picks up and puts down. The mother is an unreachable diva who picks her daughter up from school walking with her chin held high, and who, in her last days in a hospice, asks her to put on lipstick even under the face mask, because she knows it's there. It's from fragments like these, precise and everyday, that Tolcachir built the fairy tale: a method that recalls the work of Pina Bausch, in whose Tanztheater Morganti danced for 21 years, where shows grew out of questions put to the dancers and the personal memories that surfaced. A second curious fact concerns the origin of the idea: the credits attribute it to Gaia Silvestrini, a name that appears neither among the performers nor among the crew, yet where it all began. A third concerns the production's geography: a Roman dancer trained in Essen and Wuppertal, an Argentine director living in Madrid, a co-production between Paris, Pistoia, Bologna, Genoa and Palermo, and a Rome run in Monteverde.

Tickets for The Forest at the Vascello

Tickets for The Forest are sold on the official Teatro Vascello website, which links to the authorized presale network, or at the theater box office at Via Giacinto Carini 78.

Online

From the show page, the online buy button takes you to the authorized network. The Vascello website explains that tickets, subscriptions and cards bought this way go straight to your phone.

Subscriptions and cards

For the 2026/2027 season the theater offers several formats, including the Zefiro subscription at €135 for nine shows, and cards to be bought at least 24 hours before first use. If you follow dance and experimental theater through the year, compare them with a single ticket.

Single ticket prices

Single ticket prices are published on the Vascello's official channels and on the authorized network.

When to book

The six performances run from Tuesday the 20th to Sunday the 25th. Book the weekend shows early, at 19:00 on Saturday and 17:00 on Sunday.

Something nobody tells you about The Forest at Teatro Vascello, April 20 to 25, 2027

What nobody says is that The Forest isn't a dance show, nor a play in the usual sense. If you come drawn by Pina Bausch's name you expect a choreographic work, and if you know Tolcachir you expect his spoken theater, made of dysfunctional families and tight dialogue as in the Coleman play. The Forest sits halfway between, in fact it's built right on the border: the presentation speaks of narrative construction joined with the poetry of movement, and Morganti does the choreography while Tolcachir directs. It's the same zone Morganti has worked in since leaving Wuppertal, with danced lectures like Moving with Pina and solos in which the dancer talks, tells stories and jokes with the audience. The second thing nobody says concerns tone. The subject, the death of one's parents and dementia, makes you fear a painful evening, but the presentation stresses irony, disenchantment and the grotesque side of emotional wounds. You laugh, and the laughter doesn't erase the pain but makes it bearable. The third concerns the running time: one hour and 10 minutes is short, designed for an intense, concentrated experience. In our opinion it's the right length for a work that lives on images and details: arrive rested and alert, ready to catch everything.

My tip for The Forest at Teatro Vascello, April 20 to 25, 2027

My tip is to choose the performance based on the kind of evening you want. The weekday evenings at 21:00 are the most intimate, right for people living in Rome who want a short, intense show followed by a late dinner in Monteverde. Saturday the 24th at 19:00 leaves the whole evening free, and Sunday the 25th at 17:00, a holiday, lends itself to a full day between the Janiculum, Villa Sciarra and Trastevere, with the show in the afternoon. Before going, if you don't know the Tanztheater, it may help to watch Wim Wenders's film Pina, in which Morganti herself appears: it shows which school her stage presence comes from, where everyday gesture becomes dance and personal confession becomes theater. If you already know Tolcachir, the opposite advice: forget for an hour the realism of his family comedies and let yourself be carried into a more dreamlike register, made of offstage voices, appearances and disappearances. One last practical point: with a show that opens in a forest of light and shadow, choose a central seat if you can, not too far to the side, to get the full effect of Ferrigolo's set and Alice Colla's lighting. And arrive a few minutes early, because entering after the show has started in an intimate hall like the Vascello's breaks the atmosphere for everyone.

Teatro Vascello, an experimental stage in Monteverde

Teatro Vascello opened on May 4, 1989 on Via Giacinto Carini, founded by Giancarlo Nanni and Manuela Kustermann with the company La Fabbrica dell'Attore.

From Teatro La Fede to the Vascello

Before Monteverde there was Teatro La Fede, at Via Portuense 78, where in the 1970s Nanni and Kustermann worked within the so-called Roman school, a theater that put the image before the word. Memè Perlini and Giuliano Vasilicò also came out of that company.

A state-recognized innovation theater

In 1998 the Ministry recognized La Fabbrica dell'Attore as a Teatro Stabile d'Innovazione. In 2004 the Sala Studio opened. In January 2010, after Nanni's death, artistic direction passed to Manuela Kustermann, who still holds it.

Dance at the Vascello

The Vascello has always made room for contemporary dance: in the early 1990s American and French companies came, and over time Enzo Cosimi, Sosta Palmizi, Virgilio Sieni and Wim Vandekeybus have passed through. For more than 20 years, too, the Romaeuropa Foundation has brought part of its festival to the Vascello. The Forest fits naturally into this line, between theater and dance.

How to get to Teatro Vascello for The Forest

Teatro Vascello is at Via Giacinto Carini 78, in Monteverde Vecchio, and is reached by bus 75, which stops in front of the entrance.

By bus

The 75 is the most direct line from the center. The theater also lists lines 44, 710, 870 and 871, which link Monteverde to Trastevere and the neighborhoods to the west. For evening and holiday times, especially on Sunday, April 25, check the ATAC journey planner.

By train

From Ostiense station the train takes you to Quattro Venti station, a few steps from the theater: it's the fastest way if you're coming on Metro B, linked to Ostiense by the Piramide stop.

By car

The theater suggests parking along Via delle Mura Gianicolensi, about 100 meters away. There are paid garages at Via Giacinto Carini 43, at Via Maurizio Quadrio 22, which has a deal with the theater when you show your ticket, and at Via Raffaello Giovagnoli 20.

On foot from Trastevere

From Trastevere you can walk up to Monteverde in about 20 minutes, along the streets leading toward the Janiculum: a good option for the Sunday matinee, with the light still high.

Another well-known fact, yet one rarely mentioned

All dance lovers know that Cristiana Morganti danced with Pina Bausch, but the general public knows less that her face and body appear in two widely seen films. She's among the Tanztheater dancers in Pedro Almodóvar's Talk to Her, from 2001, and in Wim Wenders's Pina, from 2011, the 3D film devoted to the Wuppertal choreographer. So many viewers have already seen her without knowing it. A second fact well known in the field and rarely told: Morganti began as a classical dancer in Rome, at the Accademia Nazionale di Danza, before moving to Germany to the Folkwang Hochschule in Essen, the school Bausch herself came from. So The Forest marks, in a sense, a return to the city of her first training. A third fact concerns Tolcachir. The Argentine director, known to many for the Coleman tours, already has a bond with Rome audiences: in 2017 he directed Giulia Lazzarini in Emilia for Teatro di Roma, and with that play he won the Premio Ubu for best foreign play. More recently Anna Cappelli, co-produced by Teatro di Roma, won Valentina Picello the Premio Ubu for best actress, with a set by the same Ferrigolo who builds the forest of this show.

The neighborhood around Teatro Vascello: Monteverde Vecchio

Monteverde Vecchio is the upper, residential part of Monteverde, above Trastevere, between the Janiculum and the great historic villas.

The Janiculum

The Janiculum is a short distance away: in April, before the Sunday matinee, the lookout over the city is the best way to start the day.

The villas

Villa Sciarra and Villa Doria Pamphilj are the area's two green stops. In spring their tree-lined avenues offer a real counterpoint to the show's forest of the mind.

The Fontanone and San Pancrazio

Climbing toward the hill you come to the Acqua Paola Fountain and, a little farther, the basilica of San Pancrazio.

Trastevere

At the foot of Monteverde lies Trastevere, with the basilica of Santa Maria in Trastevere and its streets full of places open late.

The right photo to take at The Forest at Teatro Vascello, April 20 to 25, 2027

No photos during the show: The Forest lives on carefully calibrated lighting, appearances and offstage voices, and one lit screen in the hall is enough to break the effect. The official production photos are by Alfredo Toriello and are already on the theater's channels: if you want a keepsake of the show's images, that's where you'll find the forest, the phone booth among the trees, the figures entering and leaving the dark. The right photos to take yourself come before and after. The first is the Vascello facade on Via Giacinto Carini with The Forest poster, maybe in the late April sunset light before the Saturday show. The second is taken among the trees of Villa Sciarra or Villa Doria Pamphilj, a few minutes from the theater: a real wood, in full spring, to set beside Tolcachir's imaginary one. It's a play of echoes the show itself invites, since the director describes his forest as both real and theatrical. The third is taken on the Janiculum, with Rome below, before the Sunday, April 25 matinee. The rule always applies: no flash, no video, no shots during the applause while the performers are on stage, unless the theater says otherwise.

Where to eat before or after The Forest

Teatro Vascello has an in-house bistro, the Coffee Plant Bistrot, handy for a coffee or a snack before the show.

In Monteverde

The neighborhood has trattorias and pizzerias used mostly by residents, with prices lower than Trastevere's: the right choice after the 21:00 shows, which end early.

In Trastevere

After the Saturday 19:00 show, head down to Trastevere, where osterias and trattorias stay open late. On Saturday night, and even more over the April 25 long weekend, book ahead.

Sunday

The Sunday the 25th matinee ends at aperitivo time: a drink in Monteverde and then a leisurely dinner round off the day nicely.

Some important events that happened here in history

The history of Teatro Vascello reads in dates. On May 4, 1989 the hall opened with a show by Tadeusz Kantor and the Cricot Theatre of Warsaw: a debut that was a statement of intent, since Kantor was one of the most radical names on the European stage. In the early 1990s Raul Ruiz, the Pontedera research center and American and French contemporary dance came through, a strand the theater never dropped. In May 1996 the Extraordinario series presented 16 young companies from all over Italy. In 1998 came two milestones: the Ministry recognized La Fabbrica dell'Attore as a Teatro Stabile d'Innovazione, and the Vascello co-produced a show with the Berliner Ensemble, the theater founded by Brecht. In spring 2001 co-founder Giancarlo Nanni was the first Italian invited to work and teach at the Actors Studio in New York. In 2003 the Valentino Zeichen poetry prize was created, and in 2004 the Sala Studio opened. In January 2010 Nanni died and direction passed to Manuela Kustermann. For more than 20 years the Romaeuropa Foundation has brought part of its festival to the Vascello, and recent seasons have alternated drama and auteur dance: in fall 2026, for example, the program opened with Alessandro Serra's Tragudia, Il canto di Edipo. With The Forest, in April 2027, the Vascello hosts one of the historic performers of the Wuppertal Tanztheater and one of the most widely staged directors in contemporary Argentine theater.

Accessibility, recommended age and practical information

Teatro Vascello publishes an accessibility section on its website, worth checking before buying to learn about entrances, reserved seats and services.

Who it's for

The Forest deals with grief, parents' illness and deceptive memory: themes that make it a show for adults and older teens. For dance and theater students it's a rare chance to see live a performer trained in Pina Bausch's school.

Language

The show weaves word and movement, and the protagonist and her partner are Italian: the theater's presentation mentions no surtitles or languages other than Italian.

Punctuality

In a 70-minute show built on atmosphere, arriving late disturbs everyone. Leave with a margin, especially if you're taking the bus in the evening or on the holiday.

April in Rome

Late April is one of the best times for Rome: long days, mild evenings, villas and gardens in bloom. The April 25 long weekend, though, brings many visitors to the city, and hotels and restaurants fill up.

Who has passed through The Forest at Teatro Vascello, April 20 to 25, 2027

Across the Vascello stage and, before that, through the history of the company that founded it, have passed many key names in contemporary theater and dance. At Teatro La Fede, the first home in the 1970s, came saxophonist Steve Lacy, composer John Cage, French director Gérard Gelas and the Living Theatre, and Memè Perlini and Giuliano Vasilicò came out of the same company. At the Vascello, since 1989, have come Tadeusz Kantor with the Cricot, Raul Ruiz, the Pontedera center, Teatri Uniti, Moni Ovadia, Carlo Cecchi, Giorgio Barberio Corsetti, the Societas Raffaello Sanzio, Teatro Valdoca and Pippo Delbono. For dance, the line The Forest belongs to, Enzo Cosimi, Sosta Palmizi, Virgilio Sieni and Wim Vandekeybus. Among international masters, Bob Wilson and Peter Brook, who presented Beckett's Happy Days here with Natasha Parry. Manuela Kustermann, actress and artistic director, is the constant presence in this story. From April 20 to 25, 2027, the Vascello welcomes Cristiana Morganti, for 21 years a soloist with the Tanztheater Wuppertal, and Claudio Tolcachir, founder of Timbre 4 in Buenos Aires, with Lisa Lippi Pagliai, set designer Cosimo Ferrigolo, costume designer Nika Campisi, lighting designer Alice Colla and assistant director Tommaso De Santis. And with them, in spirit, Pina Bausch, the Shakespearean characters the piece evokes, and that father and mother Morganti's working material has turned into figures in a fairy tale.

Frequently asked questions about The Forest at Teatro Vascello

When is The Forest on at Teatro Vascello?

The Forest by Cristiana Morganti and Claudio Tolcachir is at Teatro Vascello from April 20 to 25, 2027: Tuesday the 20th to Friday the 23rd at 21:00, Saturday the 24th at 19:00, Sunday the 25th at 17:00. The show runs one hour and 10 minutes.

Who is on stage in The Forest?

On stage in The Forest are Cristiana Morganti, dancer and choreographer, for more than 20 years a soloist with Pina Bausch's Tanztheater Wuppertal, and actress Lisa Lippi Pagliai. It's directed by Claudio Tolcachir, with choreography by Morganti.

What is The Forest about?

The Forest is a contemporary fairy tale about emotional betrayal, the crisis in relationships between parents and children and the passing of time. It starts from Morganti's autobiographical material and weaves it with fairy tales and Shakespearean echoes, with an ironic, disenchanted gaze.

Is The Forest a dance show or a play?

The Forest combines theater and dance: the Teatro Vascello presentation speaks of narrative construction joined with the poetry of movement. There are spoken words, offstage voices and choreography by Cristiana Morganti, with Claudio Tolcachir's stage direction.

How long is The Forest?

The Forest runs one hour and 10 minutes. The 21:00 evening shows end around 22:10, the Saturday 19:00 one just after 20:00, and the Sunday 17:00 matinee around 18:10.

Where can I buy tickets for The Forest?

Tickets for The Forest are sold from the show page on the Teatro Vascello website, which links to the authorized presale network, or at the box office at Via Giacinto Carini 78. Prices are on the theater's official channels.

How do you get to Teatro Vascello?

Teatro Vascello, at Via Giacinto Carini 78 in Monteverde Vecchio, is reached by bus 75, which stops in front of the entrance, by lines 44, 710, 870 and 871, or by train from Ostiense to Quattro Venti station.

Is The Forest suitable for teens?

The Forest deals with themes such as the death of parents, dementia and memory, with irony but without simplifying: it's suited to adults and high school students, especially those who study dance or theater.

Final tip on The Forest

The Forest brings together two paths that rarely meet: the dance theater born in Wuppertal with Pina Bausch and Claudio Tolcachir's Argentine spoken theater. The result is a short, intense fairy tale about losing your parents and finding yourself, told with irony. In our opinion it's best seen expecting neither a ballet nor a family comedy, letting yourself be led into Ferrigolo's forest for 70 minutes. Book the weekend shows early, arrive with a margin, and maybe start the day among the trees of Villa Sciarra: Cristiana Morganti and Lisa Lippi Pagliai will do the rest.

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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