Le Volpi

Giorgio Colangeli, in the role of the mayor, is simply perfect: he doesn’t need to overact; his voice and physicality instantly bring the character to life. Likewise, Federica Ombrato is effective in conveying the raw ambition and infectious enthusiasm of someone who would rather not compromise but, in order to secure the job, ends up betraying her own principles. Manuela Mandracchia offers a credible and precise portrayal of her multifaceted character, torn between her public and private roles, a sort of ivory tower under attack. Everything, inLe Volpi, unfolds with coherence, thanks to Luca Ricci’s careful and measured direction.
(Nicola Arrigoni, Sipario, 13.02.2026)

A comedy that is simply ‘bitter’ – to borrow the term from Luciano Bianciardi – who, with an almost disarming ‘naivety’ in the style of Bontempelli, confronts us with a part of ourselves that we would rather not, or only reluctantly, have anything to do with. A fine play, intimately devoted to the theatre.
(Maria Dolores Pescewww.dramma.it, 09.02.2026)

Flawless in its pacing, its handling of situations, and its unravelling of the subtle dynamics at play in a small town in the Italian province.
(Valeria Ottolenghi, Gazzetta di Parma, 03.02.2026)

Lucia Franchi and Luca Ricci, the playwrights and directors, have written the script in a refreshingly natural style, resisting the temptation to turn it into a blatant farce or a scathing indictment. The three actors, Manuela Mandracchia, Federica Ombrato and Giorgio Colangeli, bring it to life admirably.
(Masolino D’amico, La Stampa, 20.01.2026)

This is whereLe Volpifinds its strength: it does not point the finger at abstract culprits, but creates a mirror-like dynamic that directly challenges the ethical conscience of the viewer.
(Carlo Rea, Giornale La Voce, 20.01.2026)

Le Volpiderives its power from this precision of observation, from a theatre that does not raise its voice, and from a subtle irony that becomes increasingly bitter. Franchi and Ricci guide the audience into a web of relationships where nothing appears overtly illegitimate, yet every gesture subtly contributes to redefining the boundary between what is permissible and what is not.
(Giovanni Ierfone, Il Corriere Nazionale, 18.01.2026)

Breakout comedy, which entertains but above all makes you think, with a masterful cast and top-class writing. […] The performances are exceptional, with masterful turns from Giorgio Colangeli (the outspoken mayor), Manuela Mandracchia (the mayor’s friend), and Federica Ombrato (the pragmatic daughter), who are thoroughly immersed in their beautiful and complex roles, exploring the interplay of power and corruption in the Italian province, leaving the audience with an uncomfortable yet necessary reflection, in which they may well recognise themselves in the characters’ justifications.
(Giancarlo Leone, Visum News, 17.01.2026)

A bitter laugh that sticks in your throat is what this disturbing Italian story, entitledLe Volpi, provokes. Luca Ricci and Lucia Franchi have written a sharp and surprising comedy which, starting from a seemingly harmless domestic encounter, delves with irony into the intricacies of power, compromise and hypocrisy in our provinces.
(Ilaria Ragni, Brainstorming Culturale, 16.01.2026)

Giorgio Colangeli, Manuela Mandracchia and Federica Ombrato create some fascinating dynamics on stage, alternating between worried tones and irritated demeanours, before shifting to charming tones and sly glances. Three great foxes!
(Flaminio Boni,www.flaminioboni.it, 16.01.2026)

Franchi and Ricci’s writing is skilfully balanced and measured. Every line seems to say less than it knows and more than it admits. (…)Le Volpiconfirms the consistency of Capotrave’s approach in interpreting the provinces not as a periphery, but as a measure of power.
(Davide Oliviero,www.gbopera.it, 15.01.2026)

The dramatic effect here evokes the dialectical and thought-provoking atmosphere of certain works by Leonardo Sciascia and Elio Vittorini. To this the subtle, perfectly measured interplay between two remarkable human and artistic figures—Colangeli and Mandracchia— made shrewd by experience, must be added.
(Rodolfo di Giammarco, roma.repubblica.it, 15.01.2026)

Manuela Mandracchia, the mother, and Federica Ombrato, the daughter, go far beyond mere effectiveness; they prove themselves to be true actresses, with a clear-eyed gaze, not to mention Giorgio Colangeli, who is so extraordinarily natural and defiant. In short, a show that captivates and literally serves up the vegan biscuits that are taken as a symbol of a moral code never sought, but which, on the contrary, goes in the opposite direction. There is more than one reason to go and see it.
(Francesco Bettin, Sipario.it, 02.03.2025)

Le Volpifalls within the tradition of spoken theatre, in which the text – here understood as the script written in lines and dialogue – is the predominant element to which, consequently, primary credit must be given for the success of the production. To this, however, the second key factor in the staging is added, which lies in the solid acting performance of the Mandracchia-Ombrato-Colangeli trio: measured and grounded, never succumbing to excess or overshadowing one another. The result is a performance that remains consistently vibrant, from opening to closing.
(Eugenio Mirone, Paneacquacultura, 22.12.2024)

CapoTrave reaffirms its commitment to social engagement, without compromising on the high-quality craftsmanship of theatre-making and a strong cast. An increasingly rare pearl on our stages.
(Rossella Battisti, Rumorscena, 3/2024)

The structure of the text is the result of skilful dramatic craftsmanship in the development of the characters, who are well-measured and balanced in their relationships.
(Vincenza Di Vita, Reason for voting for Best New Italian Play at the 2023 Ubu Prize)

At times Brechtian, at others steeped in the Ibsenian atmosphere ofAn Enemy of the People, (…) featuring a feisty daughter, an excellent Giorgio Colangeli in the role of the Mayor, and a strong-willed mother, (…) who are three cunning, colluding, guilty foxes, (…) in an investigation rich in mystery, suspense and pathos.
(Tommaso Chimenti, Hystrio, 4/2023)

The debut ofLe Volpiis a convincing one (…). The writing by Lucia Franchi and Luca Ricci is firmly rooted in reality and creates a delightful, balanced text which, above all, hits the mark, flushing out the foxes hiding within us, ready to emerge when needed, especially when it comes to lending a hand to relatives and friends. (…) The production is carried by the actors, who are perfect in their assigned roles, whilst the set design by Ricci himself is equally effective. It is certainly an enjoyable, fast-paced and tightly-knit production, in which the dramatic structure is meticulously crafted down to the smallest detail, without a single flaw.
(Marco Menini, KLP Teatro, 25.09.2023)

Luca Ricci’s direction, with its clear focus on being logically constructed around everyday structures—which the three well-calibrated actors also draw upon—features a number of subtle touches capable of taking on further metaphorical meanings.
(Viviana Raciti, Teatroecritica, 18.09.2023)

A sharp and incisive play with fast-paced dialogue, often brimming with humour and irony yet also dramatic, brought to life by Luca Ricci’s effective direction.
(Mario Cervio Gualersi, Beebez, 10.09.2023)

The beautiful text, carried by rhythmic and musical language, at times gives way to dreamlike and intimate moods.
(Laura Novelli, Paneacquaculture, 26.08.2023)

There is a certain sense of suspense in this game of fox-like adaptability. A superb script, excellent acting.
(Valeria Ottolenghi, La Gazzetta di Parma, 06.07.2023)