(Back) Autumn Ness and Antonisia (Nisi) Collins; (Front) Reed Sigmund, Dean Holt, and Victor Zupanc (with accordion) Photo by Glen Stubbe Photography

Like every other Greg Banks adaptation I've seen, the production relies on few actors to portray multiple characters as they tell the story. The empty stage at the top of the show is covered in drop cloths and scaffolding for painting, and the actors enter dressed as painters arriving to work, surprised to find the audience in attendance. When they learn the audience is expecting a production of Pinocchio, the painters gamely assign each other roles and playfully begin to tell the familiar story, climbing the scaffolding and using various painting items as additional costume pieces and props.

The performances are universally stellar. As Pinocchio, Collins is the embodiment of naivete and chaos, stumbling around Geppetto's workshop and repeating every cautionary or teaching phrase she is given. As Geppetto, Sigmund finds all the comedy in a broad Italian accent while providing loads of sincerity and heart as he attempts to teach his little wooden boy. Sigmund also portrays the conniving Fox that tricks Pinocchio. Partnered with Ness as the dim-witted Cat, the two are a dynamic duo with the comedic timing of Abbott and Costello. Holt serves as the primary narrator and driving force of storytelling while portraying the wise, charming Cricket and acrobatic Blue Fairy. Zupanc playfully joins in when needed, such as joining the boys in Playland, and accompanies the action with a variety of instrumental and environmental sounds.

All of the stage design is rooted in the framing device of these actors as painters and a stage to be painted. At the top, the stage is illuminated only with a single lamp, or ghost light, and the full stage lights turn on when Holt flips a light switch. The actors play on the full height of the scaffolding to portray the puppet show and hoist the Blue Fairy. Found costume pieces include a mop head for the Blue Fairy's head and a roll of drafting paper for Pinocchio's growing nose. The most evocative stage lighting is reserved for a shadow puppet version of the whale, as well as red lighting far upstage when Pinocchio ventures deep into the whale's belly. Collins ventures all over the stage when Pinocchio is tasked with filling 10 buckets of water at the end of the story, finding buckets and paint cans on top of, under, and inside the various scaffolding and paint storage areas.

The company performing Pinocchio at the CTC create a true ensemble feel to this production, gamely buying into the framing device of a crew of painters as actors and keeping the story moving along. The found properties are believable with the exception of a volume of the yellow pages produced when Pinocchio requires a book for school; I'm not convinced many of the young people in attendance have ever seen a yellow pages or knew what it was, and there was a joke with a landline telephone at the beginning that didn't exactly land. Ultimately the concept was a little too high concept for my 5-year-old; he definitely understood the themes of lying in the story of Pinocchio, but he was very confused by the idea that the actors were painters performing the story of Pinocchio. These reservations aside, I highly recommend this production. The CTC continues to produce theatrical work of the highest caliber for audience members of all ages, and this captivating production features all of its five energetic cast members using their voices, bodies and imaginations at the highest level.

Pinocchio runs through October 18, 2026, Children's Theatre Company, UnitedHealth Group Stage, 2400 Third Avenue South, Minneapolis MN. For tickets and information, please call 612-874-0400 or visit childrenstheatre.org.