Sono mani di fata
Scarves, milk boxes, and other rough stuff on stage can speak, amuse, tell stories. They are the proof that theatre can be done with little if you have cleverness, irony, creative skill
Giulia Candela - Bergamo Oggi - 16.12.88

Ulises en la bañera
No doubt that putting together in a good mix four Shakespeare – a comedy, A midsummer’s night dream, and three tragedies -Macbeth, Othello and Hamlet – all in just twenty minutes represents, beside the wonder of the synthesis, a clever proposal, an unusual show and a great amount of ‘cocktailish’ imagination
Francesc Burguet Ardiaca - El Pais (E) - 22.11.88

Una coca-cola per scoprire Shakespeare
using common objects they put together a lofty foolishness; they evoke glorious ventures with a homely taste: they look so serious: real gloomy masks that seem to be forced to make people smile; they are great. It seldom happens to hope a show does not end. It happened on Friday night
Gianluca Favetto - La Repubblica Torino - 10.07.89

in their shows a new look on things re-creates common objects enlightening them in order to reveal their unsuspected expressive energy. Their dialogue with the objects is therefore, every time, the attempt to give a new chance to our daily life, to suggest that it might be less banal if we looked at it with new eyes. Assondelli e Stecchettoni ‘s plays are clever and amused exercises on objects and myths, on fears and wishes of our times.
Letizia Pagliarino - L’Eco di Bergamo - 21.03.90

children stare upward, amazed as if they heard Collodi’s story for the first time. And it might even be. In Pinocchio dei legni the matter is ‘feeling’, ‘communicating’
Ugo Cennamo - Il Resto del Carlino - 30.08.98

Gli oggetti prendono vita e diventano fiaba
the most relevant and grateful aspect is a healthy irony spreading both on objects, used like ready-made or strangely assembled, and traditional plots. An irony joint to a ‘light’ approach: a teller/manipulator comes on stage to perform his gags, showing what he can do. Actually it’s a show on dexterity in treating images and writing, but without any haughtiness, with a winning easy attitude.
Pier Giorgio Nosari - L’Eco di Bergamo - 13.12.00

Cappuccetto Rosso si innamora
beside the extremely simple and classical plot of the fairy tale, this play shows a careful technique
Rossella Nisi - Il Mattino di Padova - 5.10.87

but there’s also a curious and atypical kind of theatre, mixing comedians and strange objects to tell little big stories: it’s the case of the two hilarious performers (Luì Angelini e Paola Serafini) who, under the name of Assondelli e Stecchettoni, night after night present in some twenty minutes funny remakes of the classics in poetry and theatre from Homer to Shakespeare
Nicola Fano - L’Unità - 27.06.89

Assondelli et Stecchettoni la re-ecriture
their presence in the IN programme of this world festival 1991will not pass unnoticed for two reasons: first their performances were all sold-out, second the show confirmed the good opinion we had of them three years ago all Odyssey in a bathtub! You should take the risk! You should have the talent of Assondelli e Stecchettoni to take the risk. And to succeed.
J.P.H. - L’Ardennais (F) - 29.09.91

Il wurstel nel panino
The show by the Italian group Assondelli & Stecchettoni is something completely different from classic puppet theatre. Their Amphitrion is modern theatre fearless and shameless. The trio performed a powerful show: there are puppets, daily objects turned into characters that the comedians use together with shadows and masks. Even those who didn’t understand Italian amused themselves in the Museum Using simple means, the Italians light up a fanciful firework.
Ruhr - Nachrichten (D) - 30.10.92

Théâtre d’objet- Appartamento con figure
Appartamento con figure loves masterpieces and these give back a great result to the show. Literary hints feed the sauciness and the lightness of the proposal. ‘Théâtre d’objet’ is a form of theatre new and skilled that successfully mixes the ancient art of puppets with modern speed. The result is amazing, subtle and brilliantly amusing; the complicity with the audience takes place.
S.Me. - Tribune de Genève (CH) - 23.01.93

Sono solo marionette
we’ve been in an ancient farm-house in the countryside of Bergamo, the workshop of the company Assondelli e Stecchettoni, that Luì e Paola Angelini have turned into a kingdom of hilarious madness, where any item of daily life acquires human tics and becomes puppet
Antonella Barina - Il Venerdì di Repubblica - 03.12.93

Cappuccetto rosso in nuova versione. E poi arriva la TV
The title of this new production, Cappuccetti Rossi (plural), stands to explain that it is an original approach, or many approaches all equally amusing, to one of the best known and most beloved tales by children in the world. Authors and performers Paola Serafini e Luì Angelini are also the scene-shifters and the commentators of this refined play, together with Tano Vezzoli, author of the soundtrack and sound/light designer, performing himself
Federica Cavallotti - L’Informazione - 07.02.95

Un insolito Cappuccetto rosso riempie di pubblico il Teatro Clunia
A new way to stage this classic of Children Literature, where tradition (glove puppets look like Pulcinella) is mixed with modern items like TV and cameras The company, that already brought this and other shows in several cities of Spain, crowded the hall today. And not just with children
L.P.M. - Diario de Burgos - 24.05.95

Fantasia, umorismo e note volanti
This double-level show has been in the same time amusing, delirious, fanciful, humorous, original shortly, a breath of fresh air reaching the heart
Isabelle Lantheaume - Le Dauphiné liberé (F)-19.11.95

Tanti lupi in scena (ma cosa ci fa Pinocchio?)
Many Little Red Riding Hoods, many Wolves. The famous tale with the taste of initiatory rites multiplies itself in many ways: happy, ironic, funny, with Assondelli e Stecchettoni in the beautiful theatre of Fontanellato where they presented the show for an audience of smaller children
Vittoria Ottolenghi - Gazzetta di Parma - 21.03.96

mixing humour and symbols, using a great imagination and a very good staging to sustain the dramatic idea, the two comedians, Luì Angelini and Paola Serafini play with reality trough the tale of Little Red Riding Hood
Simon Lacroix - La Primeur (CND) - 17.07.96

Il legno protagonista per Pinocchio animato
the fine-tuning of the dramatic texture gives the show a strong metatheatrical touch in the double meaning of ‘theatre in theatre’ (present in many scenes) and of hint to the techniques of making the puppets, moving them, writing plays. Equally refined is the contamination of styles and modes. It shifts from hidden and full-view manipulation, from story telling to fake news, from visual to horror-like scenes (very appreciated), like the one describing the illness of Pinocchio, to ‘fantasy’ inside the whale.
Pier Giorgio Nosari - L’Eco di Bergamo - 06.10.98

The Italian group Arrivano dal Mare renews traditional forms. To tell the story of Pinocchio they create a double set of plots – an old man teaching how to work wood and the adventures of the nosey puppet. And Pinocchio appear in many shapes, glove puppet, draft in a frame made with hangers and bamboo. The audience takes part of the imagination of the performers, enter the dream in a whirl of twinkles floating in the dark hall
Renato Mendonça - Zero Hora (BR) - 05.06.00

Oggetti, personaggi della fiaba in incognito
Beyond the recovery of imagination and of fancy, beyond the play of glances between manipilator and spectator in search of mutual confirmations, the most interesting part of the game is the relationship between two persons of the audience facing the theatrical event from two different points of view. A light-hearted idea, but also a huge teaching power.
Maria Paola Porcelli - La Gazzetta del Mezzogiorno - 21.01.02

Gli oggetti quotidiani fanno teatro
An exhibit about the creative use (of common objects) and the stories they can tell. … It shows the way from traditional puppets to the use on stage of daily objects … A technique close to contemporary arts and winks to assemblages (see the surrealistic tin warriors of Omerica) and to ready-made.
Angelini e Serafini prepare also real interactive games where the visitor can have their own way to modern puppet theatre.
Pier Giorgio Nosari - L'Eco di Bergamo - 12.03.04

… It is the representation of a creative process made of analogy, metonymy, pun, hyperbole. It’s the staging of a process typical of contemporary visual arts. But most of all it’s a piece of good theatre, to be savoured in its components and for the general taste, just as cocktails have.
Pier Giorgio Nosari – L’Eco di Bergamo - 15.05.05

Una versione minimalista per le Fiabe africane di Serafini
Small stories, small objects. Here lies the fascination of Fiabe Africane by La Voce delle Cose… Theatre, all thing considered, is this: the greatest effect – to tell a story concerning all, audience and performers – with the minimum effort. …
All this take shape by means of simple tools, simply adapted to the story. … It’s the fluent implementation of a well-adjusted technique set up in two decades of experimentation, among the first in Italy.
L'Eco di Bergamo - spettacoli - 5.12.2006

… many opportunities to see good theatre in the Festival … as the startling narration of African tales performed with self-possessed effectiveness by Paola Serafini
Mario Bianchi – eolo-ragazzi.it – maggio 2006

Il Faust di Luì Angelini
Angelini’s theatre is an alchemic theatre. It does not rely on object animation, but the power of an exceptionally rational speech opens the doors of imagination. Our perception of objects changes, as if they would contain, in the name or in the shape or in the usual functions, a fragment necessary for the story. … It’s a brainwave, a precious jewel, a withering quarter of an hour that is worth an essay, concentrating a whole poetics in the alembic of the disenchanted  brains of the comedian.
Alfonso Cipolla - eolo-ragazzi.it - maggio 2008