"To expand the imaginations and hearts of audiences all over the world."
Tut’Zanni Theatre Company exists to create a fun, interactive experience in the theatre that invites audiences to stand with us on the precipice of “what happens next?”. We believe this creates a unique collaborative environment where the audience has the opportunity to participate in the storytelling as we take them through an exploration that allows them to take a break from reality and laugh at some of the things that can make this a scary world. We create a safe space where we can comment on society and start a conversation. We build stories along with our audiences so that we can open our eyes, see our mistakes, comfort the heartbreak, celebrate the ridiculous, and try to remind people that beauty and play exist everywhere. We strive to expand the views of not only what theatre can be, but what people can be, and to bring people of all backgrounds together into a feeling of community that will hopefully continue past the moment the curtains close.
We do this because we believe that theatre is nothing if not entertaining, and the best theatre should challenge your perspective on the world and stir up the "sediment" so that we live truer, more just, more equal, more generous and more thoughtful lives.
Our Process and Aesthetic
Tut’Zanni uses our own form of Commedia dell’Arte, a traditional Italian style of highly physical street theatre based on classic character archetypes. Although it is an old form of theatre, we believe the themes it focuses on – greed, power, social hierarchies, and sex – are as relevant to our daily lives as they were when Commedia was a new art. The characters still can be found in today's world, if you take the time to look around: The overworked and undervalued female worker, the braggy social climber, the wealthy, tightwad business owners, and power-hungry politicians (sound familiar?). We use this form because we find it is the strongest way to connect to our audience and clearest and most relatable way to present an idea.
Commedia dell’Arte is both unfettered as well as incredibly structured. When we develop a show, we start with fundamental technique. Commedia depends on a strict form, with rules and techniques that dictate how it is performed, in order to free up what is performed. When we begin building a show, we start with a rough outline and idea of what we want to work on. Because Commedia is all about the characters and their relationships, we spend a lot of time putting them together and improvising scenes. We say yes to everything, see what happens, turn it on its head, and see what works. By the end of development, we still only have a couple pages of plot points, but we have fully formed, strong characters that are ready to interact with the world and their audience.
The result is a rough-and-tumble, “people’s theatre” style that is fun, relatable, and engaging. The audience knows that they can fully influence the story, which makes them more invested. Now they are accountable for what happens on stage, raising stakes and making the show a thrill for actors and audience alike.
Founder, President & CEO
ALi Landvatter, author of Exploring Modern Commedia dell'Arte and founder of Tut'Zanni Theatre Company, is based out of New York City. She was brought up in theatre, performing in musicals and plays in community theaters. She studied various forms of theatre throughout school and in her own personal studies, having a growing affinity towards more unconventional styles such as mask technique and shadow puppetry. As an adult, she continued working as she moved to Los Angeles, where she performed with the physical theatre/dance theatre company Mimoda Jazzo in THE SECRET, and has performed in The Berubians production of THE DARK SIDE OF THE MOON. In 2006, ALi studied various forms of physical theatre at the Accademia dell’Arte in Arezzo, Italy as well as acting and directing Shakespeare, and Japanese theatre at the University of Utah. She has studied many forms of movement, and is a YT-200 certified Yoga Instructor. ALi has ran the theatre department for STAR Education, one of the largest afterschool programs in Los Angeles from 2013-2014, and then brought STAR out to New York City. She has had the opportunity to continue exploring her craft in her own time and with peers, which led her to founding her own physical theatre company, Tut’Zanni, which has performed and taught internationally in cities across the US and into Europe from 2012-present. Their projects include ART FOR SALE, LOVE LETTER LOST, and DON’T SAVE THE PRINCESSES, and they are currently developing multiple new shows including BEEP & BOP, CINDERELLA CUBED, and MONEY, SEX & BIG CHECKS.
Co-Founder, CFO, Secretary
Dory Rebekah Ford Sibley is a teacher, writer, singer and performer based in Arezzo, Italy. Dory was trained as a coloratura soprano in the Opera Theatre department at the University of Arkansas before she came to Italy in 2005. In spring 2006 she began at the Accademia dell’Arte in the Foundations in Movement Theatre program and then continued on to receive her MFA in Physical Theatre. During this time, Dory devised several solo and ensemble works that were featured in Arezzo, Cortona, Turin, Milan and Berlin. After graduating in 2011, she co-founded Tut'Zanni with fellow ADA Alumna ALi Landvatter. In August 2013, Dory completed her teaching certification in the Elemental Body Alignment System (EBAS).
Dory is currently a professor of Voice at the Accademia dell'Arte and teaches workshops in The Vocal Body and EBAS. Dory was an ArezzoFestival organizer for over 4 years and has been the CrisisART Festival Collective Facilitator since 2012. She continues to devise work in Arezzo and abroad as a freelance actress and musician. She is also the Founding President of the ADA Alumni Association. Dory is most proud of her daughter, Elisabetta, who is certainly her best creation yet!
Molly Tomhave is an American film and stage actress. Born in Seattle and raised in Tacoma, she sang, danced, and acted her way through local performing arts stages before returning to her birthplace and completing a major in Drama at Seattle University.
Molly received additional formal training while a student at the Accademia dell’Arte in the arts-rich city of Arezzo, Italy. There she studied the form of improvisational theatre known as Commedia dell'arte, broadening her abilities as a performer and even discovering a knack for playing the role of the old man, one of the theatre's stock characters.
She returned to Seattle invigorated, soon afterward establishing a theatrical production company called Theatre Machine. With performances that engage, provoke, and inspire audiences, her company explores the power of story and acting. Described by the Seattle Times as a "svelte brunette" for her role in The Maids (2009) and a "master at evoking childish mannerisms" as Maggie in Sweet, the Breath of Children (2007), Molly and her company garner consistently favorable reviews for their performances.
With the momentum of Theatre Machine's success, she set out for Hollywood, moving the "right way" as she called it by driving the approximately 1,135 miles in a single shot. Within months she was attached to creative work, including an anti-piracy PSA for the American Association of Independent Music. As she works to lay the groundwork for her career in the film industry, Molly makes return trips to Seattle, staying active with her theatre company. In both endeavors, she searches for projects which challenge her to communicate substantive messages and shared experience.
Liam Mulshine is an actor and creator in Philadelphia. He was born and raised in Washington, DC and majored in Theatre at Boston University's College of Fine Arts. It was during his time at BU that he had the opportunity to spend an unforgettable semester studying Commedia dell'Arte and other physical theatre styles at the Accademia dell'Arte in Arezzo, Italy.
Liam lived in Los Angeles for nearly eight years after college, working mostly in the world of film and TV. Some of his favorite experiences recently include working with Zach Galifianakis, Bill Nye the Science Guy, and being literally five feet away from the Muppets while filming their 2011 film. Liam loved performing around LA with his improv troupe Toughie and taking jaunts around the country (and to Italy!) with Tut'Zanni. He nerds our hard on astronomy and tries to life with the mentality of a scientest, always seeking the truth and asking "why?". Liam's favorite terrestrial past time is hanging out with his pals Orange Kitty and Miss Kitty.
Allegra is currently the Resident Director at the American Repertory Theater. She resides in Boston, MA where she guest teaches at MIT and Harvard University. Her work is diverse, from Shakespeare to musicals, to children's theater to street mob flash events. She is a proud member of Tut'Zanni Commedia Company and a graduate of NYU and CMU. Favorite productions listed below.
A.R.T.: The Light Princess (Director), Hansel and Gretel (Director/Adapter), The Snow Queen (Director), The Donkey Show (Resident Director), The Tempest (Associate Director), Prometheus Bound (Associate Director), Death and the Powers: The Robots' Opera (Assistant Director), Best of Both Worlds (Assistant Director). OBERON: Once In Hell: Dante’s Inferno in 10 Dinner Courses; Matchmaker, Matchmaker, I’m Willing to Settle: A Musical Guide to Internet Dating. Broadway: HAIR (Assistant Director, Tony Award-winning Revival). Summer Theater of New Canaan: Hairspray (9 Broadway World Nominations), South Pacific (2 Broadway World Nominations), My Fair Lady, Carousel, Twelfth Night, Romeo and Juliet, Taming of the Shrew, A Midsummer Night’s Dream, H4 (an original adaptation of Henry IV, Parts 1 and 2).
Patrick Berger is a theatremaker and arts educator. He currently lives in New York City and is the Editor of PXP magazine, an online magazine focusing on young people's perspectives on theatre.
As a theatremaker, he has worked with numerous companies in NYC, including: Youth-on-Target, The Anthropologists, Trusty Sidekick, Squatters Theatre, the Regional Theatre Company, and Yinzerspielen.
As an arts educator, he was the Education Program Manager at Theatre Development Fund for 5 years, where he helped grow numerous programs including an afterschool program that focused on ensemble-devised work. He has sat on committees with YEA: Young Educators in the Arts (an organization dedicated to connecting those new to arts education in NYC that he also helped co-found) and the NYC Arts-in-Education Roundtable. Also as an educator, he has worked with Theatre of the Oppressed NYC and the American Repertory Theatre's kids company.