Event Category: Theater

Niños Ferales
Vikingos Company

Niños Ferales explores the stories of children raised by animals to question the boundaries between human and animal, nature and civilisation. Blending documentary theatre, physical performance, contemporary dance and black humour, the piece challenges our ideas of humanity and imagines a feral utopia beyond the systems that separate us from our bodies, our environment and other forms of life.

Vikingos Company is a theatre collective from Spain. They have been active since 2019, with five productions and three co-productions to our name. As a collective, some of their favourite themes include desire, horror, interrupted childhoods, structural politics, the jungle, magical thinking, dark humour and utopia. Alongside their performances, they have led workshops in Spain, Greece, Italy and Romania, and have also carried out several arts mediation projects.

They have received two awards: First Prize at the Bionic Festival 2025 and the Special Jury Prize at the Mutis Festival (Barcelona, 2026).

Duration: 80 minutes, with surtitles
Suitable for: +16

POUSTARA

Evangelos Lalos

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Poof
Pervert
Faggot
Fruit
Sissy
Bender

The first time someone called me something like that, I didn’t even know what it meant. I was seven years old, in second grade, and before the school bell rang, I liked walking side by side with a classmate and talking.

Since then, I’ve heard it many times throughout my life. Every time I didn’t do what they wanted, every time I didn’t behave the way they expected me to, every time they wanted to hurt me, every time they wanted to change the way I am and the way I exist.

Years have passed, and now at least I can answer back: I’m not a faggot. I’m a poustara.

Poustara is a documentary theatre performance based on the testimonies of the actors involved, exploring what it means to be a gay man in Greece today. What has changed over the past 20 years? From fines imposed over televised kisses to marriage equality and adoption rights.

A political work that is also entertaining, a big party celebrating everything we have achieved, and a protest for everything we still have left to fight for. A colourful collective journey towards who we truly are, because you don’t have to be gay to be denied the freedom to be yourself.

The most viral performance of the summer returns on December 28 for a run of 10 performances, and we want all of you there!

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Director’s Note

“In 2023–24, when we presented the Spanish version of the play in theatres and at festivals across the country, many people came up to us and told us how timely and necessary performances like this were. In Spain… a global pioneer in LGBTQI+ rights, the third country in Europe to legislate marriage equality and adoption rights, back in 2005.

From the very beginning, I knew I wanted to create a similar performance in Greece. At first, I tried to follow the structure of the Spanish version, until I realised that it made no sense. I was in a different country, dealing with different issues and a different culture. What would be the point of bringing symbols to the stage that nobody here would understand?

And that was when the work became very Greek, very local, and at the same time, very international. Because what could be more interesting than taking a close look at a microcosm that exists within a much larger universe?

Poustara, then, is deeply Greek. It speaks of everything we have lived through, everything we wanted to experience but couldn’t, and everything we are now able to experience thanks to those who came before us. It also incorporates many traditional elements, not in the sense of an obsession with antiquity or naive national pride, but in the sense that tradition belongs to all of us. We can redefine it and make it our own, just as we do with words that were once used to hurt us and that we now celebrate.

So Poustara is a celebration, a party to celebrate the fact that we are here and that we are all here together.”

– Evangelos Lalos

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The press wrote about the performance:

• elculture.gr
• Monopoli
• Neolaia.gr
• OW
• EfSyn

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Duration: 75 minutes
Age recommendation: 15+

THE LAMB

by Theodoros Tsapakidis

An existential thriller
by BLANDA theatre company

“I was the only stranger.”
TSAPAKIDIS, “THE LAMB”

One night in the life of a couple. The man kills a burglar and attempts to dispose of the body. The couple must deal not only with a crime, but also with their own relationship. As the night unfolds, the attempt to manage the crime turns into a confrontation – until an unexpected twist changes everything we thought we knew.

At a time when violence, manipulation and the refusal to take responsibility often permeate both public and private life, Theodoros Tsapakidis’ “The Lamb” turns our gaze towards an intimate space: the relationship between two people.

In the play, violence is not limited to the act of murder. It seeps into intimacy, corrodes love and turns communication into a field of conflict and manipulation. Tenderness coexists with psychological and physical violence, directed not only at the person closest to us but also at the self, as a means of self-punishment.

Within a metaphysical atmosphere poised between the real and the otherworldly, the play follows a man’s journey towards the realization of a painful truth. A sense of the uncanny, the disjointed, the perverse and even madness follows him at every step. And the woman seems to accompany him on an extreme journey leading to the revelation of a truth he himself is unable to face.

The dramaturgical structure resembles a musical fugue: the attempt to dispose of the body is repeated in variations, while the physical relationship between the two characters, the explosive language and the victim/body’s constant presence on stage sketch out a hidden universe of frustration and alienation. As the night progresses, the protagonist’s certainties – and with them those of the audience – begin to unravel.

Who, in the end, is dead and who is alive? When does communication become a weapon? What “murder” is being committed – and who is the victim? Is there catharsis? Violence, like a whirlwind, levels everything in its path.

In “The Lamb”, what we see unfolding on stage, together with what remains unseen, forms an existential thriller that sustains the tension until the very last minute, as we slip into the treacherous mirror of an image of the “real” that continually eludes us.

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With the financial support of the Ministry of Culture.

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November 2026: 14, 15, 21, 22, 28, 29/11

December 2026: 5, 6, 26, 27/12

January 2027: 2, 3, 9, 10/1

Two additional performances will take place in December Monday and Tuesday, 14 & 15/12 (20:30).

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Duration: 80 minutes
Suitable for: 16+
*The performance contains scenes of violence, strong language and sexual content

THE KILLER

by Mitsos Efthymiadis

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Who is the real killer?
The one holding the gun, or the one who learned to remain silent?

Some crimes end the moment they are committed.
Others continue to live on in memory, within families, in silences and in guilt.

This is the world illuminated by The Killer, the important contemporary Greek play by Mitsos Efthymiadis, directed by Dimitris Bitos and premiering on 13 November.

In a Greece that still carries its own wounds, the play acquires an unexpected relevance. Through four authentic theatrical characters and exemplary dramaturgical structure, Efthymiadis creates a psychological drama that speaks with striking clarity about violence, silence, family, guilt and responsibility, proving that some plays are written long before their time has come.

After years in prison, Savvas returns to the world he left behind, carrying the burden of a crime that has defined his life. His sister’s home becomes the setting for an unexpected encounter with people inextricably bound to his past. As the hours pass, old silences are broken, deeply buried secrets rise to the surface, and relationships built on fear, guilt and betrayal are pushed to their limits. The search for truth becomes a relentless psychological confrontation, in which every revelation overturns previously held certainties and forces the characters to confront not only what they have done, but also what they have chosen to remain silent about.

In The Killer, the crime is only the starting point. The real stakes lie in the social and human conditions that give rise to violence, shape consciousness and trap people in a vicious cycle of fear, silence and an inability to truly look one another in the eye. The characters are neither innocent nor guilty; they are deeply wounded people, trapped by their choices and by the circumstances that shaped them.

Director Dimitris Bitos approaches the play as a story that speaks directly to the present, placing the characters within a contemporary social context and bringing out the enduring power of the text.
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Director’s Note

“This is a contemporary Greek play, one of the few with such a strong structure and theatricality that allows us to bring it into the present and place its characters within a current context, shaped by the circumstances and issues of today, in a Greece that still lives with its wounds. Mitsos Efthymiadis’ four protagonists are four authentic theatrical characters who, within 90 minutes, touch upon the enormous problems facing our country today. Memories do not simply remain alive; they intensify, boil over and, at some point, explode. And from within that explosion emerges a great theatrical work that gives us the opportunity to read the present in multiple ways.”

— D. Bitos

MENGELE
by Thanasis Triaridis
directed by Vana Pefani
Returning to PLYFA for the 2nd time before Zurich

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Following the success of the production at PLYFA in October 2025 and its presentation in Zurich in January 2026 at Bühne S – Theater im Bahnhof Stadelhofen, where it will return in January 2027, “Mengele” returns to Athens.

The play by Thanasis Triaridis, directed by Vana Pefani, returns to PLYFA for 7 exclusive performances, from 8 to 17 October.

A gripping psychological thriller, filled with unexpected twists and chilling reflections on human nature, starring Giorgos Nasios and Eva Piadi, with live music and sound textures by Orestis.

From 8 October, and for seven performances only (8, 9, 10, 11, 15, 16 and 17 October), Athens audiences will have the opportunity to experience this unique production once again.

Vana Pefani creates an immersive theatrical experience inspired by real psychological experiments. The theatre becomes a laboratory, where the audience is invited to choose: will they take the position of the experimental subject or that of the researcher? This is not simply a performance, but an experience that demands active participation.

“Mengele”, a landmark work in Thanasis Triaridis’ dramatic writing, was written in 2012 and, over the course of a decade, has been presented at more than 15 different venues in Athens, in other cities across Greece, and in Cyprus. It is a text that attempts to confront one of the most unimaginable horrors of modern history: Josef Mengele’s infamous experimental laboratory at Auschwitz-Birkenau.

Today, at a time when the boundaries of human violence and morality are once again being tested, the play comes to shake us and remind us of the words of Italian-Jewish writer and Holocaust survivor Primo Levi: “What has happened once is certain to happen again.”

A few words about the story:

On a night journey aboard an electric train, an administrative employee and a PhD candidate in History — two complete strangers — find themselves sharing the same compartment. A sudden power outage leads them into a childhood role-playing game: he becomes the infamous “Angel of Death,” Josef Mengele, while she becomes Esther, the granddaughter of a Jewish survivor of his experiments.

But the game soon crosses the line. Are the two “players” merely acting, or are they revealing a terrifying truth? How far can they go when they play with History, morality, and human nature itself?

The Playwright’s Note:

For twelve years now, with every new production of this play, I have been confronted with the same question: “But why do you write about Mengele?” And I always give the same answer: “Because he existed — therefore, he can exist again at any moment. I write about Mengele because I want to demonstrate that the horror of the Holocaust is constantly present. Evil does not come from the heavens, nor from the depths of some nonexistent Hell. Evil is within us — and it takes an ethical struggle and cultural vigilance to ensure that we are not the ones who put people on trains bound for another Auschwitz.”

And I want to say something else. All my life I have written about the massacred civilians who are wiped out in the death laboratories of various forms of power. In my mind, Mengele’s twins stand alongside the enslaved children of all centuries, the children of massacred Indigenous peoples of the New Worlds, the mutilated victims of the Congo, the children being killed in Gaza, and the countless children of our world who die — or, more precisely, are killed — in Sub-Saharan Africa from hunger, poverty and deprivation. They belong to the great community of those unjustly slaughtered throughout History, to whom I feel I am accountable.

— Thanasis Triaridis

The Director’s Note:

“Mengele” is not a performance. It is an in-between space. A bardo of violence. Not the great, historical kind. The small kind. The silent kind. The individual kind. The everyday kind. The kind that has no screams, only whispers. That does not spill blood, but slowly corrodes.

The play’s two protagonists do not know whether they are still inside the experiment or outside it. They do not know whether they are perpetrators or victims. Perhaps neither do we.

Perhaps they are not people at all, but questions in human form. A light that comes on. A light that goes out. And a society watching — with nervous laughter? With indifference? Perhaps with horror? — an experiment that never ends.

The play is being staged now because we live in a world where words such as morality, conscience and responsibility are gritting their teeth. Because darkness is here — and it does not ask for answers, only that we acknowledge its existence. That we see it. And perhaps that is the most difficult thing of all.

— Vana Pefani

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Duration: 80 minutes
Age recommendation: 16+

GEESE
2nd year

Stella Zafeiropoulou

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Following a successful debut, “Geese” returns to PLYFA for a second year.
This season, Maria Antoulinaki takes on the role of Kyriaki.

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In a small provincial town, nothing stays hidden for long. Sofia is a young woman adopted by Kyriaki. Her ancestry constantly become a source of conflict between them, while the comments and interference of those around them further destabilize their fragile balance. As Kyriaki secretly struggles with questions surrounding the management of her property and her inheritance, Sofia experiences love and believes she has finally found happiness. However, the revelations that follow will overturn everything, leading them toward unpredictable and tragic developments.

Geese, the award-winning play by Stella Zafeiropoulou (Greek Screenwriters’ Union Award, 2017), is presented for the second time on stage at PLYFA Theatre from November 18, 2026. It is a story that dares to confront deeply rooted prejudices about parenthood, biological lineage, fear of the foreign and the different, the difficulty of integrating it into our culture — as well as an insatiable love of money.

Stella Zafeiropoulou, one of the most dynamic representatives of the new generation of Greek playwrights, who was recently nominated for the “Karolos Koun” Award for Greek dramaturgy for her play Fly (2025, Olvio Theatre), directs the play herself this time. Presenting her first directorial work on the Greek theatrical stage, she notes about Geese:

Geese is a story of selection. Of children in institutions, of the children who were chosen and those who stayed behind. But there’s more than that. It is also the story of a mother and daughter who never truly saw one another as such, as well as the ongoing narrative of a segment of people who make up small communities and who hypocritically and quite unorthodoxly preserve the old roots of these societies in barren soil when it comes to welcoming the foreigner into their “ancestral lands.” I consider it important that my works originate from real events and engage with a reality that I construct using theatrical terms. The same applies here:  Geese is based on a story that came to me and served as a starting point for creating images. This is also what I want to do with my direction — to highlight the images of the text, and why not, to create new ones. And as time passes and I study Geese from the outside, no longer as their creator, I increasingly feel my detachment from the text and my connection to it under different terms. What I know for certain, however, is that whether in one way (as a writer) or another (as a director), what I need to do is place it on tracks along which it can move smoothly and without obstruction.

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Duration: 100 minutes, no intermission

*Exceptionally, during the second week of December, performances will take place on Monday and Tuesday, December 7 & 8, 2026.

Kane ligo pio kei

Mutabor

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October 3, 4, 10, 11 & 17 and November 13 & 20, 2026
EXTRA PERFORMANCES November 16 & 27
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Stench. We’re surrounded by corpses again.

The Mutabor theatre company presents the original play Kane ligo pio kei, a performance that explores, through the absurd, the grotesque and the painfully familiar, the human need for freedom, the burden of social roles, family, love, alienation and death.

In an apartment.

High-ceil-inged. Clut-tered.

Inside, a Lady, a Maid, a son, Lo, and between them, the corpses.

Always inside.

Locked in the house, they try to digest the roles they believe life has forced upon them.

But what happens when someone decides not to obey? Resisting social conventions can bring freedom. But is everyone capable of handling the weight of being free?
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The Play

In a high-ceilinged, cluttered apartment lives Lo’s family: the Lady, his mother, a Maid, and corpses.

Lo works as a corpse cleaner. His daily encounters with the dead exhaust him, while at the same time becoming, paradoxically, a form of liberation.

The Lady constantly demands that he fulfil roles, identities, wishes and chores. She grows increasingly irritated; the more pressure he is under, the more he rises up against her.

Completing the picture is the Maid, who is constantly searching for her mop.

And the corpses? Like conductors, they shape the flow of the story as the characters gradually begin to lose their sense of self and their certainties.

Until a letter disrupts the fragile balance.

In the end, if you free yourself from the role you were given, are you ready to take responsibility for your freedom?

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The Performance

Kane ligo pio kei places at its centre the responsibility that comes with shedding social roles.

In a society that demands that we all be functional, useful and accepted, what price does someone pay when they refuse to conform to the profile of the “healthy”, socially acceptable person?

What happens when someone does not want to perform the role assigned to them? How much alienation and loneliness can freedom conceal? And how easily does difference become deviation, and deviation become stigma?

In the world of the play, the corpses embody the doubt that arises when people feel inadequate in the face of what is expected of them.

Why do we build our own prison and remain inside it, even when there is an escape plan?

And ultimately: do the characters find liberation, or do they remain imprisoned?

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Duration: 80 minutes

HORNY FANS

INDEPENDENT ARTISTS

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Within a reality shaped by economic insecurity, the home becomes a space for invention, where the body, the image, everyday life and time become materials for negotiation. The need for survival encounters desire, the absurd, and the persistent attempt to imagine a future.

The home becomes a stage.

The body becomes content.

Desire becomes labour.

And time becomes space.

Amid a reality of economic insecurity, some people search for a way to keep going. The need to survive becomes a need to invent, and the home gradually transforms into an improvised space of work and exposure.

What once belonged to private life begins to become material. Intimacy becomes content, and life starts to resemble a performance that never ends.

It is then that time becomes strange. What happened yesterday may feel as though it happened only moments ago, while tomorrow remains constantly outside the frame.

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Duration: 80 minutes, no interval
Suitable for: 16+

*For this performance, tickets purchased at the box office can only be paid for by card (POS).

THE TRUTH IS

by Dimitris Dimitriadis
Directed by Grigoris Karantinakis
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2nd successful year

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Truth, antonym: Falsehood

Falsehood, synonym: Non-acceptance of the Truth

Dimitris Dimitriadis’ The Truth Is, directed by Grigoris Karantinakis, could be an incident from a police report, elevated through the dimensions of poetic language, dramatic writing and dramaturgy.

And yet, it is a contemporary portrait of human character, deeply existential and intensely charged: a confessional text that reveals the dark side of truth.

Two figures are present, the father and the mother, while their son, deafeningly absent yet ever-present, unravels the thread of their truth.

Their son’s life does not conform to their principles. Their seemingly spotless environment, their respectable family and their devout image all collapse when their child chooses to be “different.” Their values, beliefs and principles are shaken, and so they decide to remove him from their lives.

The play lays bare the hypocrisy and violence of the contemporary human being’s false life. The parents remain steadfast in their harsh decision, impatient for its implementation, and endure its consequences.

In one of his most revealing theatrical texts, Dimitriadis gives voice to truth, not so that it may be heard, but because it can no longer remain silent.

A performance about the things we have never dared to say.
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But will we ever speak our own truths?

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Duration: 80 minutes, no interval
Note: The performance contains gunshots and smoking

Golden Record

The b.p.m. theatre group presents the new theatre work by Danai Liodaki

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What is worth preserving from the history of humanity? This is the question from which Golden Record, the new performance by Danai Liodaki, takes its starting point. The performance takes us back to 1977, when NASA created a record containing music, images and sounds and sent it into space aboard the Voyager mission, in an attempt to introduce life on Earth to an unknown extraterrestrial recipient. The performance returns to this real-life event, revisiting it in an era of war and destruction.

Almost fifty years after the spacecraft was launched, two sisters, while clearing out their parents’ house in a small village in Greece, discover a series of letters that bring a family secret to light. As they unravel the thread of the story, they travel through Greece during the struggle against the dictatorship and into a world changing at dizzying speed. From the neighbourhoods of New York and the creators of the Golden Record, to the Lebanese Civil War and the Palestinian people’s resistance, personal journeys become inextricably intertwined with major historical events of recent decades, revealing a hidden history that emerges from the past to illuminate the future.

Blending fiction with real historical figures and events, Golden Record is a work about memory, loss, and resistance to oblivion. A deeply anti-war work that seeks out the stories of those who were left outside official historical narratives.

Danai Liodaki (“Match,” “Those You Didn’t Get to See,” “Hyperspace or Otherwise…,” “With the Bees or with the Wolves”) continues to engage with contemporary political and social issues, proposing theatrical forms that combine elements of contemporary fiction and documentary theatre. The play Golden Record is published by Kapa Publishing.

The performance was presented as part of the 2026 programme of the Greek Ministry of Culture’s “All of Greece, One Culture” initiative.

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Duration: 90 minutes, no interval