Event Category: Theater

L E M O N at P L Y F A

8 years of journeys in 8 + 1 performances!

*The performance is presented with English surtitles

In 2018, Lemon began its journey by stepping off the theatrical ship of Athens out of a need to be in every corner of Greece to offer a cultural opportunity to residents of decentralized areas.

After 8 years of original performances between land and sea, the incredible story of the virtuoso pianist 1900 -who never got off the ship on which he was born- anchors for 8 + 1 unique performances at PLYFA.

25,000 spectators, 184 performances in remote areas of Greece, countless meetings with people-spectators who never left their home. The independent and handmade artistic production of Lemon continues to connect the points of our collective map broadening the boundary between theatre and real life. Proposing an active theatre, with a social footprint and political prothesis.

“theatre exists where spectators exist”

Lemon returns to Athens after 42 consecutive sold-out performances at the abandoned Bageion hotel during the 2019-2020 season, where the performance travelled by word of mouth.

The raw and atmospheric industrial space of PLYFA in Votanikos will be the ideal setting both for the story of the greatest pianist of the Ocean and for the story of Lemon’s journey.

“We played so the world wouldn’t feel the passage of time”

Conceived, artistically directed, site-adapted and produced by Melachrinos Velentzas and with the support of local communities, Lemon continues its research journey sometimes on land, sometimes at sea and sometimes somewhere in between: on board ships, in shipwrecks and anchored ships, on beaches and breakwaters as well as in village squares, on a lemon process factory, in abandoned places where a theatrical performance is presented for the first time.

The award-winning performance-experience thrills audiences wherever it is presented receiving excellent reviews. Energy that floods the stage, moves and excites in 70 torrential minutes of a deeply human story that brings to the surface the existential question:

“Where do you feel happy?”

The story of the pianist 1900, based on the original text by Italian writer Alessandro Baricco (translation: Stavros Papastavrou) and adapted-directed-choreographed by Georgia Tsagkaraki is brought to life on stage by the actor and pianist Melachrinos Velentzas in the role of 1900 and the actor Giorgos Drivas in the role of the trumpeter Tim Tooney.

Before the start of each performance, spectators can arrive earlier at PLYFA to travel through these 8 years through photos and videos that will be projected in the space. They will also have the opportunity to watch the performance without their mobile phone through the original action #theatroxwriskinto (theatre without a mobile).

The set of parallel actions aims at the activation of the senses with the goal of a pure collective performance experience, which will remind us of the ritualistic character of theatre.

On Saturday, February 28, after the end of the last performance, a live piano will follow with Melachrinos Velentzas taking us on a special night in the company of his piano and his personal narratives: stories full of memories from these 8 years.

Plot Summary

The play unfolds at the beginning of the previous century on the steamship Virginian, which is making the transatlantic journey from Europe to America. A newborn baby is abandoned by his immigrant parents inside a box of lemons on the grand piano, in the first-class ballroom. The sailor who finds him gives him his own name: Danny Boodman and along with it the nickname T.D. Lemon (from the box of lemons) adding 1900 (from the year he found him). Danny Boodman T.D. Lemon 1900 will become the greatest pianist of the Ocean. The trumpeter Tim Tooney -1900’s only friend- encourages the latter to step onto the land to experience another life.

What has been written about the performance

«…their energy floods the stage… an ingenious performance for two actors…» Athinorama | Tonia Karaoglou

«They truly give their all on stage!» Euronews | George Mitropoulos

«…a 2 men show!» Athens Voice | Stefanos Tsitsopoulos

«Those who saw it, wrote the best. And perhaps, for the first time in my life, I will agree with all my colleagues!» EfSyn (Newspaper of the Editors) | Nora Ralli

«…no make-up needed for those actors, who also impersonate jugglers for the needs of the role. They can feel proud for the many times they conspiratorially showed us the royal road to emotion…» in.gr | Dimitris Doulgeridis

«A pocket musical with two wonderful actors!» Grafein | Konstantinos Bouras

«A small diamond!» Tetragwno.gr | Kostas Zisis

«…the performances are excellent, moving and captivating the audience…» Theatromania | Maria Mari

«I was impressed by the seriousness and quality of a very difficult endeavor!» Huffington Post | Manos Stefanidis

«Melachrinos Velentzas plays the piano, dances, sings. His energy floods the stage. George Drivas is equally effusive!» PRAKTOREIO free press | Christos Kalountzoglou

«…a feast of poetic language, flawlessly choreographed movement, breathtaking aerial acrobatics, and abundant wonderful music, performed live…» diastixo.gr | Marion Choreanthi

«A meticulous work that stands out for the energy of the actors in a space that suits it!» Clickatlife | Ioanna Vardalachaki

«A duo with explosive on-stage chemistry elevates the legendary pianist 1900!» Woman TOC | Georgia Karkani

«…with momentum, passion, enthusiasm they craft their theatrical story in a handmade way…» Tovima (Sunday Edition) | Myrto Loverdou

«…their chemistry is terrific…» Debop.gr | Sofia Alexiou

Duration: 70 minutes (no intermission)
Suitable age: 4 to 104

IPHIGENIAS
Georgia Karlatira

4 Iphigenias stand before the sacrificial altar …
A minimal austere stage, as befits Death.
Their starting point is a fantasy of the future ; one that is denied,collapsing under the weight of maintaining power and prestige.
Lives exiled, trapped beneath their own skin,
an inescapable sacrifice….

A theatrical performance based on excerpts from Euripides, Goethe, Yiannis Ritsos and from the monologue Iphigenia/Prey by Vivian Stergiou.

Directing approach
An archetype.
The daughter.
Her sacrifice.
How marriage becomes the sacrifice of the daughter?
How many daughters are sacrificed on this altar, to maintain social balance?
Αnd, how 4 different writers handle this sacrifice?
I break, I divide Iphigenia into 4  faces and Ι still have 1…

Duration: 60 minutes

Ars Moriendi Theater Group Presents Ödön von Horváth’s “SLADEK”

Following a successful three-show run last season in Thessaloniki, Ars Moriendi Theater Group presents the political drama “Sladek” by the Austro-Hungarian playwright Ödön von Horváth in Athens. The play depicts the rise of fascism in the Weimar Republic, as engineered by the paramilitary “Black Army.”

Von Horváth’s play is set during the interwar period and the Great Depression, when inflation, unemployment, famine, poverty, and homelessness plagued Germany and drove people to desperation, providing an opportunity for extreme political groups, such as the Nazi Party, to win the hearts of the defeated and the poor. In Sladek, we see how social conditions lead “small” people to desperate acts and heinous violence, paving the way for dictators and fascists who exterminate anyone who stands in their way: women, homosexuals, Jews, communists, democrats.

The work predicts with terrifying accuracy the cycle of violence that was about to spread across Europe. The fascism of 1920s and 1930s Germany is no more, but History today creates similarities that urge us not to be complacent. Online hate speech, the impoverishment of language, femicides, xenophobia, homophobia, and television and internet populism compose the Eternal Fascism, as Umberto Eco calls it, which feeds on the natural fear of the different, on the feelings of humiliation of vulnerable social groups, and on our primal need to be heroes in our mundane lives.

“The hero,” however, “of Eternal Fascism is impatient to die,” and “in his impatience he usually sends other people to their death” (Umberto Eco). This is the story of Sladek and his comrades.

The production Sladek is presented under the auspices and with the financial support of the Hellenic Ministry of Culture and the Goethe-Institut Thessaloniki.

Duration: 80 minutes
Suitable age: 14+

WOLVES / THIS CHILD
Christos Theodoridis & Xenia Themeli
SuNdogs Group

“The SuNdogs,” a group of ten actors who graduated in 2024 from the “Neo Elliniko Theatro” (New Greek Theatre), present at PLYFA Joël Pommerat’s “This Child,” under the artistic direction of Christos Theodoridis, and “WOLVES,” a dance performance choreographed by Xenia Themeli.

“WOLVES” — Xenia Themeli

A dance performance
An experiment in coordination
An experiment on a musical piece
An experiment on the trail of a pack.

“THIS CHILD” — Christos Theodoridis

Written in 2006, the play “This Child” dissects with disarming candor the relationships that form within the most intimate and at the same time most fragile social cell: the family. Ten moments of everyday life are enough to reveal the endless conflicts, the deep silences, and the inevitable chaos that dominate among the members of the modern family. Drawing on interviews with working-class women in Normandy and propelled by the political climate of the time, Joël Pommerat delivers a work structured as a raw theatrical montage of moments.

The production attempts to open a dialogue about the future of a society tested by wars, economic crises, and power games, following a past marked by social indifference, the struggle for survival, and the absence of love. It invites us, in the present, to answer the question: What have we done?

Performance Dates: November 5, 6, 8, 9, 12, 13, 15, 16, 22 & 23
Duration: “Wolves” – 20’, “This Child” – 80’ (with a 15-minute intermission in between)
Suitable for ages: 10+

“The Iranian Conference”
by Ivan Vyrypaev
by Little Things Orchestra
Directed by Christos Theodoridis
Second year at PLYFA

Following its sweeping run last season and the presentation in Thessaloniki as part of the 60th Dimitria Festival, The Iranian Conference by Ivan Vyrypaev, produced by the Little Things Orchestra and directed by Christos Theodoridis, returns to PLYFA for a new cycle of 26 performances from November 3, 2025 through January 13, 2026.

Written in 2018 and set in Denmark, the country with one of the happiest populations in the world, Vyrypaev’s play transports us to a conference lecture hall at the University of Copenhagen, where nine members of the local intellectual elite convene to discuss the complex Iranian issue and the clash between East and West. Very soon, however, “The Iranian Conference” transforms into a “Conference about Us*,” a confrontation of different worldviews surrounding the cosmos, human existence, and the eternal question: what is the meaning of life?

“And what shall I do, then?”

“What we all do — cry and love.”

Through a feverish discourse that moves from philosophy to science and from conservative to progressive thought, Vyrypaev’s play connects the “political” with the “personal,” seeking the deeper causes that have led us to today. In a fragile era when our world is shaken by war and genocide happening near us, and the rift of division deepens, the questions of the play acquire terrifying urgency: how can we truly communicate, how can we love, how can we continue to live?

“Honestly, I could barely make sense of anything. Why do I live?”

What does it mean to live? Is there an answer to this timeless question? The Little Things Orchestra invites the audience into a performance-conference, through which the viewers will come into contact with nine speakers who, trying to explain the world around them, confront the world within themselves.

CRITIQUES / PRESS ON THE PRODUCTION

“Christos Theodoridis’s direction and the ten exquisite performances show how a seemingly ‘static’ play can be so electrifying.” — Tonia Karaoglou, Athinorama

“The performance manages to captivate through its simplicity, proving that the power of theatre lies not in excess but in the meaningful communication of ideas and emotions.” — Georgia Oikonomou, News24/7

“Considering the very contemporary repertoire, it would not be an exaggeration to point out that this is the most incisive theatrical text at least of the ongoing season — deeply political, contemplative and existential all at once, with a perceptive philosophical foundation and expansive outlook, which dissects current reality, today’s life, ourselves, our planet.” — Grigoris Bekos, To Vima

“The Little Things Orchestra, under the guidance of director Christos Theodoridis and a tightly knit ensemble of young, gifted actors, achieves a scenic feat with minimal means and deep soul.” — Maria Katsounaki, Kathimerini

“I cannot recall a production by this group that failed to surprise me. I believe the secret of the ‘Orchestra’ lies in the fact that each of its performances is founded on the sincere involvement of its members, equal participation in the dramaturgy (here by Isabella Konstantinidou and Christos Theodoridis), and the mature yet selfless development of each actor in their role-position.” — Grigoris Ioannidis, Efimerida ton Syntakton

“A fully won intellectual-performance gamble. A show that shakes you and makes you ponder your own position and perspective on these issues, lingering with you long afterward.” — Giorgos Mitropoulos, Euronews

“An inspired handling of another example of Vyrypaev’s distinctive political writing by Christos Theodoridis, brought to life by the rebelliously expressive ensemble of actors.” — Stella Harami, Monopoli

“The performance THE IRANIAN CONFERENCE is exemplary with finely tuned direction, finely tuned actors, finely tuned text. Nothing superfluous in the scenography (Tina Tzoka), lighting (Tasos Palaioroutas), dramaturgical processing (Isabella Konstantinidou). It shook me as a human being and as a spectator…” — Dina Karra, Only Theater

“[…] in its final minutes, the show offers its own answer: the delegates (including the moderator), shaken by the poetic outbreak of the faithful poetess, forget their roles, disputes, differences, and unite in a coordinated dance wave sweeping the hall rhythmically, dragging us into that Country where bodies find freedom beyond speeches and ideologies, in the pure pleasure of encounter and contact, a collective pulse that rouses us.” — Louiza Arkoumanea, LiFO

“Christos Theodoridis has theatrically and astutely transformed a difficult text — to make it attractive — by penetrating its core, primarily through his actors, because upon them rests the conveyance of all that Vyrypaev addresses. Xenia Themeli’s choreography and the way it is integrated into the duration of the performance becomes the breath, the liberation, the ‘freedom from ourselves’.”

“A contemporary, substantive, profound, contemplative work — a performance that elevates it with simplicity, immediacy, and passion — in the best way possible.” — Olga Sella, O Anagnostis

“In yet another inventive direction by Christos Theodoridis, and with captivating performances, Vyrypaev’s play succeeds, finding its theatrical essence and opening an urgent dialogue, beginning in the political and reaching — as it must — the personal.” — Iro Koundadi, In2Life

“At the end of the outstanding performance, all the delegates will rise one by one to dance the feverish choreography of Xenia Themeli, transforming questions into hallucinogenic matter of a Bacchic feast, leaving the audience applauding with an aftertaste of high intellectual exhilaration and admiration.” — Nikos Xenios, Bookpress

“Both Vyrypaev’s excellent play and Christos Theodoridis’s stunning staging begin from the mirrored version of a scientific symposium with unpredictable consequences and an unexpected climax. The reader/listener/viewer is kept in constant alertness, identifies, agrees, disagrees, gets angry, searches desperately for answers.” — Nektarios-Georgios Konstantinidis, I Epohi

“The Iranian Conference, with the deeply focused directorial gaze of Christos Theodoridis and his imagination and sensitivity, becomes a collectible show, a gem of a performance.” — Lena Savva, Theatro.gr

The performance was realized with the financial support of the Ministry of Culture.

Performances: November 3, 4, 6, 7, 8, 9, 2025 (Monday through Saturday at 20:30 & Sunday at 17:00) and from November 10, 2025 through January 13, 2026, every Monday and Tuesday at 20:30
Duration: 145′ (with an intermission)

“Who Killed My Father” by Édouard Louis
by the Little Things Orchestra
Directed by Christos Theodoridis

After the great success it achieved in the 2022–2023 season, when it premiered in Greece, the sharp and provocative work by Édouard Louis, Who Killed My Father, produced by the Little Things Orchestra and directed by Christos Theodoridis, returns to PLYFA with a new run of performances from November 29, 2025 through January 25, 2026.

“Papa, look, look, look!”

The autobiographical Who Killed My Father is Édouard Louis’s third book, published in 2018 (in Greece in 2020 by Antipodes Editions), and tells the story of his father’s life through the painful relationship they shared — in a dynamic of violence for both — because “the father is deprived of the ability to narrate his own life and the son would like an answer that he will never receive.” But beyond being a deeply personal and harrowing confession, through which the author attempts to re-approach, understand, and finally forgive his father, the work is also an unrelenting “indictment” of those “who escape shame through oblivion,” of governments and dominant politics which for those who have is a matter of aesthetics, while for those who don’t is a matter of life and death.

“We are what we didn’t do, because the world or society prevented us.”

Two ever-energetic actors on stage, Giorgos Kissandrakis and Dionysis (Denis) Makris, begin the story in the here and now, borrow the perspective of people who lived it, enter the incidents and attempt to reconstruct the images, traveling through memories of what happened, what did not happen, and what could have happened. Diving into memories, they confront the need for acceptance, sexuality and violence, the particular that becomes universal, the personal that leads to the social, and the political that concerns us personally — because the need for justice and equality in society is more urgent than ever.

“[…] nothing was violent anymore, because you did not call violence ‘violence,’ you called it life, you didn’t name it, it was there, it was.”

The performance is subsidized by the Ministry of Culture and Sports.

WHAT HAS BEEN WRITTEN ABOUT THE PERFORMANCE

“This is, indisputably, a worthy — and rare — specimen of a combative contemporary theatre that articulates an opinion and position, and functions holistically, aware that art is also politics.” — Tonia Karaoglou, Athinorama

“A fertile moment where the individual weaves with the collective and culminates in a dynamic festival-level performance.” — Stella Harami, Monopoli

“This performance constitutes a rare example of political theatre […] a solid revolution. Because theatre must take a political stance and speak even with names.” — Georgia Oikonomou, News247

“To experience dramatically a story that occurred years ago, in another country, as though it concerns you personally, is an achievement. […] Louis must surely be very proud of this production.” — Nora Ralli, Efimerida ton Syntakton

“What the Little Things Orchestra offers us with ‘Who Killed My Father’ is significant because it comes at the right moment and in the right way: with admirable balance combining the distance required by political theatre with the emotion inevitably stirred by its thematic. A superb collaborative work, with all the contributors worthy of praise. We need such performances.” — Giorgos Voudiklaris, elculture.gr

“Giorgos Kissandrakis and Denis Makris captivate in this unbridled acting recital, ‘entering’ almost instantaneously all the roles and characters, standing beside and at the same time across from them. A proposal. An achievement. And finally, a truly fresh and new Theatre.” — Kostas Zisis, Fragile

“Alternating the father-son roles and frequently intervening with the ‘voices’ of the other involved characters, the two performers mesmerize the audience: the credit for this is shared, of course, with Christos Theodoridis.” — Nikos Xenios, Bookpress.gr

“A masterful production that audiences rarely have the opportunity to see in the theatre.” — Tonia Tsamouri, CultureNow

“Christos Theodoridis delivers a lesson in direction. With work that is not just inspired but opens new paths in the presentation of non-theatrical texts.” — Giota Dimitriadou, Viewtag.gr

“The Little Things Orchestra’s production addresses an international audience, speaks to the spectator’s heart, and says the things that heal human relationships and interrupt violence.” — Naya Papapanou, Boem Radio

“This is a performance that deeply moves the viewer, a production not simply emotional but heartbreaking, one we will carry within us for years and hope will continue being staged for many years. It is a performance to which, as spectators, we feel profound gratitude.” — Loukia Mitsakou, TheaterProject365

Extra performances December 2025: Sunday 14/12 at 17:00, Friday 26/12 at 20:00, Sunday 28/12 at 17:00

Extra performances January 2026: Sunday 4/1 at 17:00, Friday 2/1 at 20:00, Sunday 11/1 at 17:00, Thursday 15 & Friday 16/1 at 20:00

Duration: 95′

BAD LUCK BANGING OR LOONY PORN
Based on the screenplay by Radu Jude – Golden Bear, Berlin Film Festival 2021
Adaptation: Katerina Papanastasiatou
Direction: Sotiris Roumeliotis

For the first time in Greece, the social comedy Bad Luck Banging or Loony Porn is being presented on stage. The play is based on the screenplay of the award-winning film of the same name by Radu Jude, which received the Golden Bear at the 2021 Berlin Film Festival. Directed by Sotiris Roumeliotis, the production will be staged at PLYFA, starting Monday, October 20. The cast features an outstanding ensemble of actors: Angelos Andriopoulos, Eleni Vaitsou, Eleni Daphni, Spyros Sourvinos.

Synopsis

When a video of a primary school teacher’s private intimate moments leaks online, the parents of the students decide to take matters into their own hands!

A school assembly or a public tribunal? Concern for the future of our children or yet another excuse for public shaming? Social drama or surreal comedy?

Based on the provocative screenplay by award-winning Romanian director Radu Jude, this theatrical adaptation brings the story into contemporary Greek society. With biting humor, unexpected twists, and constant conflicts, a simple discussion between parents and teachers transforms into a true duel over the taboos of sexuality, social roles, parental responsibility, and the boundaries between private and public life.
In a society that lives through images and snap judgments, people are increasingly exposed to voracious public critique, especially online. But when it comes time to discuss face-to-face—without screens and apps in between—the masks of progressiveness fall loudly, and deeply rooted social prejudices are revealed with tragicomic clarity.

The production is made possible with the financial support of the Ministry of Culture.

Duration: 70 minutes
Recommended age: 28-50

“The Hood”

Thanasis Triaridis’ play The Hood is a dystopian future drama, a powerful punch to the stomach, written with humor, bitter irony, and absurdity.

As the author himself writes in the prologue to his book:
“So what of it? There are lakes of blood for a thousand reasons… The important thing is that we ourselves do not press the button that kills.”

A woman goes to a Distribution Station that hands out hoods and asks the clerk for one—so she can use it, as the Emergency Decree requires, at the Defense Assemblies. In these Assemblies, all adult citizens of the country are obliged to ritually murder detained migrants—by pressing a button that activates a hammer which crushes their heads. Then comes a second woman—identical in appearance to the first, but entirely different in manner and in the personal story she carries. And then a third, a fourth, a fifth, and so on. In total, ten women appear—identical in form, yet utterly different in every other way. The saleswoman suspects that it is always the same woman, sent repeatedly by the State to test her. In the end, everyone leaves the Station with the hood they desired.

Directorial Note

Thanasis Triaridis’ The Hood is undeniably a socio-political play that confronts issues concerning life itself, human values, and the freedom of will. In a regimented authoritarian state that hides brazenly beneath the hood of democracy, in a not-so-distant future, society and its pressing problems unfold. The play’s characters must obey absolutely the command of the organized State. But where does that lead? To the murder of the most precious thing a human has: memory. Without memory, consciousness is lost, all emotion is lost, and the human being functions mechanically, pressing—effortlessly and shamelessly, hooded—the button of annihilation. The annihilation of human by human.

In Western society, the act of hooding is emblematic of the social and political alienation produced by the sole surviving socio-economic system: capitalism. The surplus value of capitalism, its alienation, contains within it the suffocation of the human species. Its triumph is that this suffocation occurs almost painlessly—through a symbolic hood. The hood is the suffocation of our social life. And this suffocation, paradoxically and strikingly, produces an absolute pleasure: the pleasure of chaos.

The Direction

The direction follows the line of German Expressionism, with elements of interwar cabaret, focusing on the body and the grotesque expressions of the face, where the delivery of speech is driven by them. On the stage, the performers—a woman and a man, here (by directorial license) embodied as a non-binary person—search for the truth that has been lost, just as their memory has been lost. Their duty is to awaken the spectator and to transmit to them all the emotions and situations that arise, making the spectator a participant and accountable for what takes place on stage but, in essence, within society itself and life itself.

The stage setting of the play (again, by directorial license) is a human being—an actor-musician—used as a living stage-object. On them, the performers sit, flirt, quarrel, comment. This human stage, at times silent, at times expressing itself through sounds and live music it produces on stage, always under the prompting and command of its master, symbolizes the human as object: the human without essence, the human as slave, the migrant human, the pet human, utterly humiliated in an inhuman world.

The direction exploits the peculiar humor of the play, thereby underscoring even more intensely its harsh and dramatic substance. At the back of the stage stands a visual artwork inspired by the play, evoking the sense of a futuristic environment in which the story unfolds.

The costumes follow a retro-futuristic line.
The lighting intensifies the drama of the scenes, focusing mainly on the faces and choreographed movements of the performers.

Duration: 75′ (no intermission)
Suitable for ages 15 and above

“NOTHING BUT THE TRUTH”
Spyros Sourvinos

What happens when politics, love, and death go… on air?

In a television studio preparing for the grand premiere of the new late-night show “NOTHING BUT THE TRUTH”, two women — the host, Smaragda Lambraki, and the Minister for Citizen Protection, Clytemnestra Patrioti — stand face to face, just minutes before “ON AIR.”

A staged set.
Pre-recorded applause.
Notes with pre-approved questions.
Everything predictable. Everything under control.

Until two pieces of news arrive — both from the Minister’s own mouth:
(1) The massive protest is heading straight toward the TV station where the show is about to go live. The official reason? The 13th protester killed “by the gunfire of self-defending police officers.”
The real reason? (and the 2nd piece of news) The identity of tonight’s dead protester…

How much propaganda, how many certainties, how many masks and well-worn lies would a person undo upon learning that tonight’s dead protester is their own father — and that the “political” figure responsible for his death is sitting right across from them?

“NOTHING BUT THE TRUTH”, the new play by Spyros Sourvinos, is a story about love and truth, faith and betrayal, utopia — and the non-existent emergency exit leading to it.
Two women trapped on a stage that’s also a cage try to navigate truth, betrayal, desire — and an audience expecting everything from them.

And as the cameras close in,
as their relationship is revealed,
as the protesters reach the building,
the talk show turns into theater —
and the theater becomes a showdown
between life and death.

A play about people who refuse to stay silent,
about loves born in the mud of (any) power,
and about truths that cannot bear the light.

“We thank Thanasis Dimitropoulos and the restaurant Honolulu Athens for their kind sponsorship.
We thank the traditional products store Tsakanikas in Kallithea for their generous sponsorship.
We warmly thank Kalli Diki and vitho creative for managing the performance’s communication on social media.”

“MENGELE”
by Thanasis Triaridis
directed by Vana Pefani

“Mengele” by Thanasis Triaridis is a gripping play that follows the rules of a psychological thriller, filled with unexpected twists and chilling insights into human nature. The production comes to the PLYFA Theater, Directed by Vana Pefani, Starring Giorgos Nasios and Eva Piadi, with Music/Sound Design & Live Textures by Orestis. From October 13 and for only six performances (October 13, 14, 15, 20, 21, 22), the Athenian audience will have the chance to experience this unique production at PLYFA. In January 2026, the play will travel to Zurich, at Bühne S – Theater im Bahnhof Stadelhofen Zürich.

Ticket prices: €16 regular, €12 (students, unemployed, seniors 65+, group tickets)
Suitable for: 16+

After the performance begins, entry to the theatre is not permitted. Please make sure to arrive on time.