It was certainly a special year, not only for the works we presented but also for many other key aspects, such as the collaborations we initiated and the technical innovations we introduced.
We began the year with a valuable and fruitful new collaboration with The Dicken’s Project by Caledonian Studios, where on January 4th we staged “The Creation of the Violin,” garnering great success and a lot of attention.
Meanwhile, as part of our active collaboration with Noir’Wen City, in January we debuted our new show, The Gershwin’s Piano, a completely new format that further pushes us towards prose theater, which has always been one of our goals. The show is highly innovative, using media to blend a video component into the performance.
Also for 2025, we also renewed our sponsorship agreement with Parallel Universe for the 2025 edition of The Viral Voice, thus supporting virtually all of Season 6, including performing at the opening ceremony.
Our Pagan Evocation Fantasy Show “package” continued, and even increased, the success of previous years. We toured the shows on the grid, presenting Chapter 1 at The Sugar Skol, part of the Pagan Festival, and at the Grid@Hub of Second Life’s Endowment for the Arts. Chapter 2 was featured in the most important venues: Noir’ Wen City, Virtual Worlds Best Practices in Education, Fantasy Faire, Sci-Fi Con, Second Life 22nd Birthday, and Second Life’s Endowment for the Arts.
Beyond the successes of the individual shows, two aspects distinguished 2025.
The first is collaborative: thanks to our friendship and collaboration with ATG Productions, whom we always thank for their help, we were awarded a large spot in the SLEA7 sim of Second Life’s Endowment for the Arts, as part of a six-month grant from ATG Productions. In the parcel, we showed… ourselves! As Officina dei Sogni, we showcased our production process, our work, and a general overview of everything we do. It was a fantastic experience, and we had the opportunity to meet so many wonderful people active in the arts world in SL.
The second key aspect of 2025 was undoubtedly the production of The Journey, the new live show by Musa InFabula, which toured with four major venues (Noir’ Wen City, Fantasy Faire, Sci-Fi Con, Secondlife 22nd Birthday). Musa gave it her all with her violin, playing live for an hour, pieces ranging from pop to jazz, in an absolutely innovative setting where we successfully incorporated both classic choreographic elements from our shows and the presence of a double video screen projecting a film (produced by Musa InFabula herself) synchronized with the live music and obviously in keeping with the show! I myself had doubts, and I confess, about whether it would work, but in the end, thanks to the teamwork within the Officina dei Sogni staff, everything worked perfectly!
Another important element was certainly producing a new show this year: The Sound of Music, which debuted at Club Cupidus and was performed again as the closing event for the Second Life Endowment for the Arts grant. It will be one of our flagship shows for 2026.
There were some emotional moments for me, and they were unforgettable. First and foremost, performing a show like Circobirò in Noir’Wen City, a show I myself would never have bet a penny on ever being performed again! The show is incredibly complex, not suitable for all sims, and even managing the performance requires careful and consistent direction. The excessive complexity meant the show had only been done once in the past, and just when I thought it was a thing of the past, suddenly… poof! We did it again!
It was a year of great successes but also of great innovations. A year of realized ideas and fantasies. A challenging year, but full of interesting aspects, all things I could never have achieved alone!
On the other hand, Second Life is beautiful when done as a group. Our team spirit, fully respecting everyone’s diversity and the personal commitments we all have, was the winning weapon of Officina dei Sogni for 2025. So how could I not thank the group as a whole, made up of Alex Cat, Ambra Starlet, Clarissa Bughuntress, Musa InFabula! Everyone contributed in the field, inventing, building, doing.
Likewise, without our team of actors and actresses, we would never have been able to stage 22 shows in a year! So, credit for all this also goes to: Athena Firehart, Epona Exonar, Hikaru Ikeda, Lola Nippo, Lyra Winter-Breil, Memole Giha, Mia Rose, Morticia, Naar Absinthe, Suellen Heartsong, and Tilly Opaline.
Obviously, all of this isn’t enough. Without the invaluable collaborations we’ve had, neither I nor the group would have had such an intense 2025. Thanks go to everyone who collaborated with us by offering us space, suggesting subjects, and actively working with us, first and foremost Arrehn Oberlander, Caledonia Skytower, NieuwenHowe, Zack Haiku, and Sajushi von Firlefanz.
My heartfelt and emotional thanks go to all of you!
Happy 2026!
