Reaching the Golden Fleece should have been his greatest feat, but it ended up becoming the beginning of his misfortune.

After obtaining it thanks to Medea’s help, Jason swears eternal love for her, and the two flee in search of a place of refuge. Upon arriving in Corinth, Jason asks King Creon for help, but in exchange for asylum, he demands that he marry his daughter Creusa.

Tired of his stateless wanderings, Jason agrees and breaks his oath. The betrayal of his word unleashes Medea’s wrath and triggers the arrival of the Furies, sent by the gods to force him to face his past: only by descending into the underworld can he save himself from the bloodbath Medea is prepared to inflict upon him. Although if he can’t reconstruct all his steps correctly, perhaps even descending to Hades won’t be enough…

Ages 12 and up.
Running time: Approx. 105 min.

The comedy deals with which type of education is better: a strict and rigid one, or a more liberal and open one. Both models of education are embodied by the characters of Demesa and Micciona, two sisters with very different temperaments: while the former is a very strict mother, worried about her two sons, Aeschinus and Ctesiphon, the latter is a jovial and permissive spinster who has adopted one of her nephews, specifically Aeschinus.

Aeschinus, the young man educated in a liberal manner, seizes the courtesan Bacchis, but he does so not to satisfy his own instincts, as everyone believes, but to give her to his timid brother Ctesiphon, who dares not act for fear of his mother. In reality, Aeschinus was in love with Pamphila, the prototype of a poor but virtuous girl.

In the end, all is revealed, and the two young men manage to marry the girl they loved: Ctesiphon, the courtesan Bacchis; Aeschinus, the virtuous Pamphyla. For her part, the elderly Demesa renounces the old principles that had guided her son’s upbringing.

Ages 12 and up
Duration: Approx. 100 min.

In the Greek camp outside the sacked city of Troy, the captured Trojan women and their queen, Hecuba, lament their travails while awaiting the results of a lottery that will determine their fate. All the surviving women of the royal family, victims of the conquerors’ cruelty, will become the property of the Greeks. As Troy burns to the ground, the desperate women are herded onto ships that will take them across the Aegean to become slaves in the homes of the Greek victors. The tragedy lies not only in their irreversible fortunes, but also in the resilience they display in the face of adversity. Although pain is inevitable, the search for meaning always persists.

Ages 14+
Running time: Approx. 90 min.

Memoirs of Adrian is a performance based on the novel Memoirs of Adrian by Marguerite Yourcenar. This world-renowned text is a first-person account of the life of the Spanish-born Roman emperor. In literary terms, it is a false autobiography. In theatrical terms, therefore, it is a false personification: Adrian does not live in the second century, although he remembers it. This union of planes is the universe of our production. With lyrical language and admiration for his hellenistic profile, Yourcenar recreates the figure of a ruler as wise and magnificent as he is blind and contradictory. Both profiles portray the expression of solitude. Taking this theme as the backbone of the performance, director Beatriz Jaén has created a stage space where the echoes of that solitude resonate in the current context of power, politics, and the creation of a public image.

Lluís Homar is Adrian; Adrian is also Lluís Homar: an actor of himself in many circumstances, a ceaseless seeker of philosophical answers, and a spiritual traveler. His voice, sometimes secret and sometimes obvious, guides us through that common experience: the pilgrimage of being. Accompanied by an entourage that both guards and imprisons him, Adrian will prepare the legendary speech in which he bequeaths power to Marcus Aurelius. His memoir will be the result of his empire, but also the confession of a man who has touched the limits of human experience.

Memoirs of Adrian is a theatrical performance that simultaneously represents a moving Roman film and the intimate story of a man in dialogue with his story, with History.

Ages 14+
Running time: Approx. 90 min.

Agamemnon, king of Mycenae, returns from the Trojan War. At his welcoming banquet, his wife, Clytemnestra, and her lover, Aegisthus, will murder the king as payment for Iphigenia, the couple’s daughter, offered as a sacrifice by her own father to the gods to allow the king’s return to Mycenae. Electra, also the daughter of Agamemnon and Clytemnestra, lives outside the palace. When she realizes what has happened, she decides to avenge her father’s death with her brother, Orestes, to bring justice by killing those who perpetrated it: her own mother, Clytemnestra, and her lover, Aegisthus.

Ages 18+
Duration: 90 minutes approx.

Cleopatra in Love, The Musical is a theatrical production that tells the passionate love story between Cleopatra and Mark Antony, set in the final years of Ptolemaic Egypt and their struggle against Roman expansion. With a spectacular staging, this musical transports viewers to a world of intense emotions, political intrigue, and overwhelming passion, reaffirming Cleopatra’s position as one of the most fascinating women in history.

The play begins with Cleopatra sailing down the Nile, plunged into sadness after being abandoned by her lover, Mark Antony. However, the story is not only a tale of impossible love, but also a reflection of Cleopatra’s struggle for her people and her legacy. Amidst encounters and disagreements, both protagonists will experience moments of passion and conflict, marked by the tragic destiny that unites them. Music, dance, and a stunning set will bring this tale of love, power, and the fall of empires to life.

Ages 12 and up
Duration: Approx. 100 min.

(Show in Italian with subtitles)

I’ve always wanted to perform “Oedipus Rex.” I’m a passionate devotee of psychoanalysis and mystery literature. I’ve always been fascinated by this extraordinary plot, in which the person investigating a murder turns out to be the murderer himself. For some time now, I’ve been advocating the idea of ​​reducing the role of the director—who, in my humble opinion, should move away from being an author and return to being an interpreter. However, while it’s right to return to the text, it’s also true that there is no authentic interpretive tradition of Greek tragedy. As far as we know, the texts that have come down to us are vaguely comparable to opera libretti without music. When conducting an ancient drama, one starts from year zero.

The vastness of this masterpiece of humanity necessarily entails some betrayals. In the aftermath of a pandemic, one could move from the social theme of the plague to the Girardian theme of the scapegoat. I have chosen the path of the metaphor of knowledge. Oedipus’s stubborn will to discover the truth makes him seem like a kind of Ulysses who cannot help but travel to continue learning. However, Oedipus’s journey is an implosive one: he investigates by exploring within himself.

Therefore, the actor himself, Luca Lazzareschi, will play not only the protagonist, but also those who know the truth, or at least part of it. Luca will also play Tiresias and the messenger, conversing with the distorted images of himself reproduced on video by Alessandro Papa, who has been collaborating with me for years. The main iconography chosen for this staging is surrealism: an almost obligatory choice for a psychoanalytically oriented inner journey. For the music, I decided to follow another of my passions related to this text: detective stories, especially from the suspense films of the last century. Taking advantage of the Western and Eastern origins of my now frequent musician, the Israeli Ran Bagno, I cannot forget that Oedipus also represents the most incandescent point of one of humanity’s eternal conflicts: the struggle between two cultures.

I could never have imagined bringing this lifelong dream to life without the great acting talent of Luca Lazzareschi and Manuela Mandracchia, who will play Jocasta; without the visionary abilities of Marta Crisolini Malatesta; without the cinematic lighting talent of Gigi Saccomandi; and without the collaboration of actors who have become my traveling companions, starting with Paolo Serra, with whom I have collaborated for almost thirty years, and continuing with Francesco Biscione, Paolo Cresta, and Alessandro Balletta.

Luca de Fusco, director.

Recommended age: from 16 years.
Duration: to be determined.

My daughter comes wearing her wedding dress and I’m going to kill her…

Ifigenia is the first violent death of a woman in Western literature. Agamemnon, her father and head of the Greek army, sentences and nails like a flag the root of violence against girls and women at the origin of our civilization. Following the trail of Ifigenia’s blood we reach the sacrifice of Polyxena, a Trojan princess, and the discovery burns rage in our throats: The Trojan War ended as it began, flooding the sea with virgin blood…

Ifigenia drew a map from kilometer zero of violence against women to the return home of the victorious perpetrator army. A newly created work, woven from three classic tragedies, through which the epic of the Greek victory in the Trojan War passes: Ifigenia in Aúlis, Hecuba and Agamemnon. A work about the very high cost that women had to pay for men to achieve glory.

Hecuba and Clytemnestra, queens of victors and vanquished, mothers of the murdered, harbor in their wombs a savage wound that opens. Rage mutates into slow fury. Here is the transformation of mothers into beasts… The steel gate of revenge opens… The silence is torn by the voracious instinct of a tormented beast and a thunderous scream thirsty for murderous blood. This is the story of the forgotten ones and their condemned mothers. It is a rose of blood between bloody hands.

Ifigenia is a crack of light in the dark cave into which women’s pain and guilt have been thrown. A beam of light to illuminate everything, so that their names are not erased from history. Because silence is not innocent.

Her tormented screams stabbed into my belly like sharp glass. And I was no longer afraid of burning.
The Light is Ours.

Not recommended for children under 12 years of age.
May contain detailed cruel scenes.
Duration: approximately 90 minutes.

Much has been written about Alexander the Great’s military exploits, his strategies, his ambition to create the largest empire ever known, the founding of cities, and so on. But very little is known about his love life and his true inner self.

This show aims to bring today’s viewers closer to that lesser-known, but no less interesting, side of the sweet, loving, intimate, and vulnerable man who was the Macedonian Alexander the Great.

All the characters orbit around the Sun- Alexander. Our story revolves around that sun, in the center of Persia, alongside all the protagonists: Hephaestion, Kraterus, Aristotle, Olympias, Roxana, and above all Bagoas, the Persian eunuch who so influenced Alexander’s intimate and sexual life.

Ages 16+
Duration: Approx. 100 minutes.

After more than fifteen years of fruitless fighting against the city of Numantia, the Roman Senate sent the victorious general Scipio to Hispania around 130 BC. He had just defeated the Carthaginians and had been crowned victorious in Rome. Scipio built an impressive military engineering structure to prevent anyone from entering or leaving Numantia, surrounding it with a deep and wide ditch nine kilometers in perimeter, complete with a series of military camps and watchtowers. He also razed the surrounding towns to the ground so that no aid or food could reach them, creating a terrible situation as hunger became the fiercest enemy of the besieged.

The Numantines tried a thousand ways to break the siege, but all to no avail. Time passed and hunger continued to grow, leading them, in their desperation, to the point of eating human flesh. And the city, now without hope, filled its streets with corpses, so they made the final, great decision that changed the course of its history.

Legend tells how the decision of a brave boy determined the fate of Numantia, preventing Scipio from receiving the crown of victory.  Fame ensured that the end of this story would be forever etched in memory.

Recommended age:16 years old
Duration: 120 minutes approx.