1. Prize United Slapstick - The Eurpean Comedy Award, Frankfurt a.m.

1. Prize Roner SurPris 2005 - Bolzano, Italy.

- Sold-Out ad Avignon Festival Off, 2013 e 2015

- Audience Prize, Mostra Internacional de Teatro de Santo André 2016, Portugal

T H E   L E T T E R 

On stage: Paolo Nani

Concept: Nullo Facchini and Paolo Nani

Director: Nullo Facchini

“A distillation of mastery, theatrical wisdom, technique and inventiveness. And for once the term CULT is appropriate ... "

La Repubblica  

Milan - December 2012

”Hallmarks of a cult show, no doubt.” 

Irish Times, 

Ireland - July 2007

a perfect miracle of precision and talent - in world tour since 1992 - is a kind of encyclopedia of comedy.”

Live Milano, 

Milan - November 2012

“... the stomach hurts, after 80 minutes of ceaseless laughter."

DV, Reykjavik

June 2000

“...one of the hits of last year's London International Mime Festival”

Evening Standard

London - January 2000

"So simple, so ingenious.”

Porsgrunns Dagblad,

Norway - 2004

“Paolo Nani is a virtuoso”

Frankfurter Rundschau,

Frankfurt - 1995

“Paolo Nani, a master of textless theatre.”


Madrid - 1997

“simplicity often bear the hallmark of genius”    

Svenska Dagbladet,

Stockholm - 1995

Internationally Paolo Nani’s THE LETTER is one of the most touring Danish performance ever.

Produced in 1992 in cooperation with Nullo Facchini, director of Teater Cantabile 2, has since then been touring in 37 countries.

THE LETTER has been presented five times at Köln Comedy Festival, two times at London Mime Festival, and is presented every year in Milan at the Teatro Filodrammatici

THE LETTER has been named cult and classic by the international press and it is still attracting a big number of audiences from all cultures, of all ages.


This is a very simple performance. The same story told in 15 entirely different ways: Drunk, western style, silent film, without hands, horror, back to front, circus, surprised, vulgar, magical, etc. But all the variations have two things in common: Never a word is spoken and the result is ludicrous. 


During the performance it soon becomes clear that the force of the act is the contact between the actor and the audience which rises to a ‘crescendo’ of games and surprises.