The most foundational measure of good theatre is its ability to hold your attention. This measure is perhaps most important when your audience is a room half-full of three-year-olds and the other half caffeine-fuelled parents. Children are notoriously unforgiving critics: they won’t feign interest, politely suppress a yawn, or wait until interval to express their indifference. If a show loses them, everyone knows immediately.

Pinocchio, the Australian Chamber Orchestra’s new family production, understands this instinctively. For 30 magical minutes, a room bustling with youthful energy falls under the spell of live music, inventive storytelling and one very curious wooden boy.

Jess Ciampa and Thom Blake in Australian Chamber Orchestra’s Pinocchio. Photo © Daniel Boud

Director Tim McGarry conjures Pinocchio’s world from remarkably simple ingredients. An old-fashioned cart and wooden cabin form the heart of the set, transforming effortlessly throughout the story before revealing a percussionist’s playground packed with instruments that double as scenery and storytelling devices.

Bryony Marks’ lively score is the production’s beating heart. Written for the four musician-performers on stage, it introduces young audiences to the violin, viola, cello and an array of percussion instruments. The music does far more than accompany the action – it drives it, creating moments of humour and wonder while showcasing the distinctive character of each instrument. For many children, it may be their first encounter with a live chamber ensemble, and the production wears its educational qualities tightly.

Heather Lindsay, Thom Blake and Yuhki Mayne in ACO’s Pinocchio. Photo © Daniel Boud

Thom Blake brings infectious energy to the title role, capturing Pinocchio’s wonder, mischief and vulnerability. However, the demands of playing multiple characters occasionally wear thin. There is surely room for one more actor, particularly to give Geppetto greater presence and emotional weight.

The musician-performers work hard to fill the gap: percussionist Jess Ciampa is a rascally and entertaining Ringmaster; Heather Lindsay brings warmth and humour to several supporting roles; Yuhki Mayne is subtly feline as the Cat, and violist Beth Condon is wonderfully expressive as the sly Fox.

The production’s most magical sequence sees Pinocchio swallowed by a whale, realised through inventive shadow puppetry and clever lighting. It’s a reminder that children’s theatre doesn’t need bigger sets, louder effects or more technology – it needs imagination. By that measure, Pinocchio is a resounding success.

The Australian Chamber Orchestra presents Pinocchio in the Neilson, ACO Pier 2/3 until 19 July. It then plays Riverside Live at PHIVE, Parramatta Square, Parramatta on 25 July (10.30am & noon)