Inaugural performance Other Pathways 2025-2026 Christmas in the Cupiello House with Luca Saccoia Thursday, December 4 at the Social Theater   The Donizetti Theater Foundation's Season of Theaters begins again, offering numerous events in the vein of drama, music and opera until May. It begins with Altri Percorsi, an open window on the different facets of theatrical expressiveness, whose 2025-2026 edition is symbolically dedicated to Benvenuto Cuminetti, who was the enlightened inventor of the review. The first of seven titles on the bill, scheduled for Thursday, Dec. 4 at 8:30 p.m. at the Social Theater, is Natale in casa Cupiello, Eduardo De Filippo 's classic revived by Luca Saccoia in a special version, cum figuris. In fact, the show sees the actor interacting with seven puppets made by set designer Tiziano Fario, author of the entire scenography, and animated by a group of maneuvers formed ad hoc for the project and coordinated by Irene Vecchia. The direction is by Lello Serao. Lighting by Luigi Biondi and Giuseppe Di Lorenzo. Costumes by Federica Del Gaudio. Original music by Luca Toller. Production Teatri Associati di Napoli/Interno 5 with the support of Fondazione Eduardo De Filippo and Teatro Augusteo. Running time 1 hour 50 minutes including two intermissions. Ticket prices: 20 euros, reduced 16 euros. The show, faithful to Eduardo's text, evokes the events of the Cupiello family, opening a rift within the imagination and memory of every spectator. A dream that comes to life through figure theater in which Luca Saccoia immerses himself by re-emerging as "Tommasino" who, after saying the fateful "yes" to his father, relives and revives that "Christmas" that has been with us for 90 years. Says director Lello Serao in his notes presenting the play, "The project is the brainchild of Luca Saccoia and Vincenzo Ambrosino, which took shape from a meeting with myself and set designer Tiziano Fario. The nativity scene is the horizon within which the whole work moves in both a real and metaphorical sense; the nativity scene is the element Luca Cupiello needs in order to hope for a renewed and conflict-free humanity, but it is also the representation of birth and death, it is the time of transition from the old to the new, it is the mixture of past and present, it is an established iconography and at the same time to be continuously deconstructed. The Nativity scene is remade every year, it is cyclical like the seasons, it can be liked and disliked. It is precisely from this last statement that we started: what has become of that Tommasino, "Nennillo," as his mother calls him, considering him an eternal child? How did he transform after that fateful "yes" on his father's deathbed? We have tried to flesh out these answers by imagining that Tommasino said that "yes" convinced, that from then on, there had to be a change, thinking that it was not just a way of pleasing his dying father, but that it was the beginning of a new path,