“Upset” is perhaps the most apt and mild description of the emotion evoked by Portuguese director Tiago Rodrigues’ play “Catarina and the Beauty of Killing Fascists: in the few days it has been staged in Athens by the Onassis Foundation.
THEATER
A play by up-and-coming director Christina Matthaiou giving voice to female victims of violence opens at PLYFA, a former textile factory in Athens’ Votanikos district, on Monday, after earning accolades at the Off-Off Festival of the capital’s Epi Kolono theater.
The first Sino-Hellenic International Theater Festival kicked off on Saturday, with Chinese dramas bringing an audio-visual feast to the audiences.
“Yes, We Can’t,” a play by Marilena Katranidou exploring today’s “burnout society,” launched the new season at the Greek National Theater’s Experimental Stage for Emerging Artists.
The performance “Disney100: The Concert” will come to the Christmas Theater (ct.gr) on November 24.
A witch hunt begins in one of Arthur Miller’s most popular plays, “The Crucible,” a captivating parable of power.
“Tea Ceremony,” directed by and in memory of Achim Wieland, returns to Bios (pireos84.bios.gr) for six performances that reveal some of society’s toughest truths.
A performance of “The Seagull” filmed at London’s Harold Pinter Theater will be screened at the Athens Concert Hall (Vasilissis Sofias & Kokkalis) on October 19.
The Athens English Comedy Club was founded in 2019 and is the only English-speaking comedy club in Greece. Experienced and new comedians will try out their best new jokes, with Michalis Sevasteris as the headliner, at the ELIART theater (127 Konstantinoupoleos).
A presentation on October 11 at the Athens Center (48 Archimidous, Mets) will discuss Greek-Australian author and journalist Phil Kafcaloudes’ journey to tell the story of his maternal grandmother, a WWII resistance fighter in Greece who rescued Allied soldiers caught behind enemy lines.
The true nature of the Eleusinian Mysteries, ancient Greek rituals at the Panhellenic Sanctuary of Eleusis, continues to elude us.
Restoring the long-neglected National Theater of Rhodes is one of the top priorities in the capital of the southeastern Aegean island.
The brand-extension musical is a tough genre to game, demanding something new for newcomers yet fidelity for fans. (“Hairspray” succeeded; “Frozen” did not.) “Back to the Future: The Musical,” based on the first of the time-travel films in the billion-dollar franchise, faces an additional hurdle: It hinges on a star performance that would seem to be irreproducible onstage.
From 15 to 30 July two large-scale theatrical productions of Aeschylus’ works − one Greek and one international − by leading artists, a concert with distinguished musical ensembles as well as an academic symposium on Aeschylus and the concepts governing this special stage genre, will create an informal but explosive debate on ancient drama, which always remains alive and crucial to contemporary issues of justice, humanism and politics.
A theater production for English speakers, “Women of Passion, Women of Greece,” returns to the Treno sto Rouf Theater in Athens for a run of 10 Saturday shows.
The five lead actresses in this year’s “Medea” performance directed by Frank Castorf at the Ancient Theater of Epidaurus as part of the Athens Festival: (l-r) Evdokia Roumelioti, Maria Nafpliotou, Sofia Kokkali, Angeliki Papoulia and Stefania Goulioti.
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