Claudio Longhi and the Miracle in Milan: "Ethics and intellectual tension, the city knows how to find solutions."

Milan, August 29, 2025 – A theater with multiple trajectories. International. In profound dialogue with the local community. Capable of dismantling clichés and narratives of power. This is the Piccolo today. Relocated to the contemporary. And increasingly distant from mere directorial theater. Thanks to the artistic direction of Claudio Longhi (now supported by general director Lanfranco Li Cauli). Longhi receives the national Franco Enriquez Award in Sirolo.

Having been Ronconi's assistant for a long time, do you experience the change with conflict?

"No, I think my path is organic, and much of it stems from the theoretical reflections linked to my studies, with my chair in the History of Directing. Then came the encounter with Koltès and Testori, two authors capable of questioning directing and who, for different reasons, fueled my vision. As director, it was therefore natural to focus on this curatorial approach, also because change has become an objective reality."

Did associated artists and the international festival give structure to the journey?

"They were the culmination and structuring factor. The elimination and reinvention of roles led to the creation of an artistic family with multiple perspectives. Perspectives to be explored internationally through the festival, to find new theoretical clarity."

How does it compare with the community?

My perception is one of openness and interest, and not just in quantitative terms. I'm referring to the quality of the dialogue with municipalities, libraries, and the associations involved in our projects, from Corvetto with Unlock the City! to Davide Enia's "Eleusi," in collaboration with Cori Lombardia. Or the immersive experiences offered by the Immersioni Festival, like Phoebe Zeitgeist's "Suburbia Dream" in Chiaravalle. Concrete, proactive, and proactive responses.

How is Milan?

It's going through a peculiar period. But it has long demonstrated an ethical stance and intellectual drive that allow it to find solutions in times of crisis. This has been the case for decades, perhaps centuries if we look back to the Enlightenment, with the connection between Manzoni and the Paris of the Idéologues. Through all this, theater remains a space where contemporaneity is processed. And in its being a city of theaters, I believe Milan also finds one of its greatest ties to Europe.

The “ethical posture” however seems to be hunching over.

"I don't want to avoid the question. But in Brechtian didactic thought, a thesis requires an antithesis to exist. Posture is therefore measured in moments of crisis, in reaction."

The Leoncavallo?

"Without prejudice to the law, I believe it's important to ensure the survival and growth of those community centers that serve as hubs of social interaction and sociability. These spaces are essential for the development of society."

How do we summarize the season?

"With its title, 'Complement of Relationship,' I think it captures many of the reflections we're making. It emphasizes the urgency of exploring relationships between subjects and the dynamics of comparing points of view. The season nourishes and listens to different perspectives and imaginations."

She will direct “Miracle in Milan.”

"Given the circumstances, it was an almost obvious choice. Consider, too, that it marks the beginning of a three-year period that will culminate with the Piccolo Teatro's eightieth anniversary. 'Miracle in Milan' recounts a crucial turning point for the city: reconstruction. It's a neorealist work, but not so far removed from magical realism. In adopting the fairytale paradigm, it becomes a powerful artistic tool."

And the flight scene?

“Let’s say we’re studying it…”.

Do you have any energy left to run the Luca Ronconi School?

“It's the opposite: School is the driving force behind everything, that's where my fuel comes from.”