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...