{ "hub": { "slug": "theater", "titleEl": "Θέατρο στην Αθήνα", "titleEn": "Theater in Athens", "answerCapsule": "Η Αθήνα διαθέτει πάνω από 150 θεατρικές σκηνές — από το ιστορικό Ωδείο Ηρώδου Αττικού και το Θέατρο Κάρολος Κουν στην Πλάκα ως σύγχρονες σκηνές στον Κεραμεικό και τα Εξάρχεια. Η θεατρική σεζόν κορυφώνεται Οκτώβριο-Μάιο με παραστάσεις σε ελληνικά και αγγλικά.", "faqCount": 4 }, "events": [ { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "ff2367279a5f9f4e", "title": "Η ΚΟΥΖΙΝΑ σε σκηνοθεσία Γιώργου Κουτλή", "description": "", "hasNativeGreek": false, "startDate": "2026-04-15T20:00:00", "endDate": null, "type": "theater", "genres": [], "tags": [], "venue": { "name": "Κιβωτός", "address": "New Ark, 18", "neighborhood": "", "coordinates": { "lat": 37.962448, "lon": 23.722371 }, "capacity": null }, "price": { "type": "paid", "amount": 20, "currency": "EUR", "range": "€20" }, "url": "https://www.more.com/gr-el/tickets/theater/i-kouzina-se-skinothesia-giorgou-koutli/", "ticketUrl": "https://www.more.com/gr-el/tickets/theater/i-kouzina-se-skinothesia-giorgou-koutli/", "source": "more.com", "createdAt": "2026-04-08 10:46:13", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "20:00", "timeSource": "scraped_listing", "imageSource": "not_found", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "abd51d959c3d37c3", "title": "Ολύμπια, Δημοτικό Μουσικό Θέατρο «Μαρία Κάλλας»", "description": "", "hasNativeGreek": false, "startDate": "2026-04-15T21:00:00", "endDate": null, "type": "theater", "genres": [], "tags": [], "venue": { "name": "Θέατρο Ολύμπια", "address": "Akadimias 59, Athens 106 79", "neighborhood": "Omonia", "coordinates": { "lat": 37.9824, "lon": 23.7333 }, "capacity": null }, "price": { "type": "paid", "amount": 15, "currency": "EUR", "range": "€15" }, "url": "https://www.more.com/gr-el/tickets/music/olympia-dimotiko-mousiko-theatro-maria-kallas/", "ticketUrl": "https://www.more.com/gr-el/tickets/music/olympia-dimotiko-mousiko-theatro-maria-kallas/", "source": "more.com", "createdAt": "2026-04-08 10:46:13", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:00", "timeSource": "scraped_listing", "imageUrl": "https://www.more.com/getattachment/6a753ea3-9ea1-4cba-a208-ec8a49c33877/viva-tickets.png", "imageSource": "backfill", "imageLocal": "/images/events/abd51d959c3d37c3.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "9edfbaa6d7703bdb", "title": "Αρχιμάστορας Σόλνες", "description": "Εως 2026-05-10", "hasNativeGreek": false, "startDate": "2026-04-16", "endDate": null, "type": "theater", "genres": [], "tags": [], "venue": { "name": "Θέατρο Τέχνης", "address": "Θέατρο Τέχνης \"Κάρολος Κουν\", 14", "neighborhood": "", "coordinates": { "lat": 37.970104, "lon": 23.73057 }, "capacity": null }, "price": { "type": "paid", "amount": 13, "currency": "EUR", "range": "€13" }, "url": "https://www.athinorama.gr/theatre/performance/arximastoras_solnes-10089829/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/arximastoras_solnes-10089829/", "source": "athinorama.gr", "createdAt": "2026-04-10 18:08:12", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:00", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/f3/f3d3b2870da74be4bc10d3aba5e2d679.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/9edfbaa6d7703bdb.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "ef6b199cbe204bb5", "title": "O θάνατος ενός ηθοποιού", "description": "Εως 2026-04-30", "hasNativeGreek": false, "startDate": "2026-04-16", "endDate": null, "type": "theater", "genres": [], "tags": [], "venue": { "name": "ΠΛΥΦΑ", "address": "Korytsas 39, Athens 104 47", "neighborhood": "Votanikos", "coordinates": { "lat": 37.9773, "lon": 23.7013 }, "capacity": null }, "price": { "type": "paid", "amount": 14, "currency": "EUR", "range": "€14" }, "url": "https://www.athinorama.gr/theatre/performance/o_thanatos_enos_ithopoiou-10089780/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/o_thanatos_enos_ithopoiou-10089780/", "source": "athinorama.gr", "createdAt": "2026-04-10 18:08:12", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:00", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/54/5451c44866574ec9bc4e3140db3fbdb4.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/ef6b199cbe204bb5.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "fd17be055069bbf3", "title": "Κουκλίτσα", "description": "", "hasNativeGreek": false, "startDate": "2026-04-16", "endDate": null, "type": "theater", "genres": [], "tags": [], "venue": { "name": "Εθνικό Θέατρο", "address": "Agiou Konstantinou 22-24, Athens 104 37", "neighborhood": "Omonia", "coordinates": { "lat": 37.9848, "lon": 23.7252 }, "capacity": null }, "price": { "type": "paid", "amount": 5, "currency": "EUR", "range": "€5 - €22" }, "url": "https://www.athinorama.gr/theatre/performance/kouklitsa-10089806/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/kouklitsa-10089806/", "source": "athinorama.gr", "createdAt": "2026-04-10 18:08:12", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "20:30", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/8a/8a301e177d494fbe81b144202d384540.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/fd17be055069bbf3.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "3052b2284de74873", "title": "Ο κήπος των επίγειων απολαύσεων", "description": "Εως 2026-04-21", "hasNativeGreek": false, "startDate": "2026-04-16T20:30:00", "endDate": null, "type": "theater", "genres": [], "tags": [], "venue": { "name": "Δημοτικό Θέατρο Πειραιά", "address": "Iroon Polytechniou 32, Piraeus 185 35", "neighborhood": "Piraeus", "coordinates": { "lat": 37.9429, "lon": 23.647 }, "capacity": null }, "price": { "type": "paid", "amount": 15, "currency": "EUR", "range": "€15" }, "url": "https://www.athinorama.gr/theatre/performance/o_kipos_ton_epigeion_apolauseon-10089817/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/o_kipos_ton_epigeion_apolauseon-10089817/", "source": "athinorama.gr", "createdAt": "2026-04-08 17:29:31", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "20:30", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/91/91475e6b2c78493394d9bcce0b14dced.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/3052b2284de74873.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "a60f1e8cfbceec63", "title": "Τα κύματα", "description": "Εως 2026-05-10", "hasNativeGreek": false, "startDate": "2026-04-16T21:00:00", "endDate": null, "type": "theater", "genres": [], "tags": [], "venue": { "name": "Θέατρο Nous", "address": "Trias 34, Athens 112 55", "neighborhood": "Kypseli", "coordinates": { "lat": 37.9965, "lon": 23.732 }, "capacity": null }, "price": { "type": "paid", "amount": 16, "currency": "EUR", "range": "€16" }, "url": "https://www.athinorama.gr/theatre/performance/ta_kumata-10089762/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/ta_kumata-10089762/", "source": "athinorama.gr", "createdAt": "2026-04-08 10:46:13", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:00", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/92/92bc35c1d4814ac2b7ef59462c8f6ec4.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/a60f1e8cfbceec63.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "855d33d7e193b3e4", "title": "Μόλις κοιμηθεί το κύμα", "description": "", "hasNativeGreek": false, "startDate": "2026-04-16T21:00:00", "endDate": null, "type": "theater", "genres": [], "tags": [], "venue": { "name": "Θέατρο Φούρνος", "address": "Mavromichali 168, Athens 114 72", "neighborhood": "Kypseli / Patission", "coordinates": { "lat": 37.9965, "lon": 23.7395 }, "capacity": null }, "price": { "type": "paid", "amount": 17, "currency": "EUR", "range": "€17" }, "url": "https://www.athinorama.gr/theatre/performance/molis_koimithei_to_kuma-10089822/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/molis_koimithei_to_kuma-10089822/", "source": "athinorama.gr", "createdAt": "2026-04-08 17:29:31", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:00", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/5a/5a344120efea45cf8550cc4e3f75199f.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/855d33d7e193b3e4.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "0878e121fcab6868", "title": "170 τετραγωνικά / Moonwalk", "description": "Εως 2026-05-10", "fullDescription": "The lights find two sisters in the house where they grew up. Their father is dead. The 170 square meters of the title is the apartment, and neither woman has set foot in it for years. Giorgis Tsouris wrote 170 Tetragonika (Moonwalk) and performs in it — now in its seventh consecutive season, with over 450 performances and the Dimitris Horn Award for best new Greek play.\n\nThe production, directed by Giorgos Palumpis, has drawn more than 120,000 audience members across Greece and toured to Melbourne. It moves this spring to Neos Akadimos.\n\nThe room fills with people who recognize Greek family architecture — the unspoken rules, the inherited furniture, the arguments that resume mid-sentence after a decade.\n\nIf you want escapism, this play walks you back into the rooms you left. But if you want Greek drama that earns its silences, Tsouris writes and acts with equal precision.\n\nNeos Akadimos is at Ippokratous 17, accessible by metro. 17 April 2026 at 21:00. Tickets through more.com.\n\nSeven years, 450 performances — and the apartment still has not been cleared out.", "fullDescriptionEn": "The lights find two sisters in the house where they grew up. Their father is dead. The 170 square meters of the title is the apartment, and neither woman has set foot in it for years. Giorgis Tsouris wrote 170 Tetragonika (Moonwalk) and performs in it — now in its seventh consecutive season, with over 450 performances and the Dimitris Horn Award for best new Greek play.\n\nThe production, directed by Giorgos Palumpis, has drawn more than 120,000 audience members across Greece and toured to Melbourne. It moves this spring to Neos Akadimos.\n\nThe room fills with people who recognize Greek family architecture — the unspoken rules, the inherited furniture, the arguments that resume mid-sentence after a decade.\n\nIf you want escapism, this play walks you back into the rooms you left. But if you want Greek drama that earns its silences, Tsouris writes and acts with equal precision.\n\nNeos Akadimos is at Ippokratous 17, accessible by metro. 17 April 2026 at 21:00. Tickets through more.com.\n\nSeven years, 450 performances — and the apartment still has not been cleared out.", "fullDescriptionGr": "The lights find two sisters in the house where they grew up. Their father is dead. The 170 square meters of the title is the apartment, and neither woman has set foot in it for years. Giorgis Tsouris wrote 170 Tetragonika (Moonwalk) and performs in it — now in its seventh consecutive season, with over 450 performances and the Dimitris Horn Award for best new Greek play.\n\nThe production, directed by Giorgos Palumpis, has drawn more than 120,000 audience members across Greece and toured to Melbourne. It moves this spring to Neos Akadimos.\n\nThe room fills with people who recognize Greek family architecture — the unspoken rules, the inherited furniture, the arguments that resume mid-sentence after a decade.\n\nIf you want escapism, this play walks you back into the rooms you left. But if you want Greek drama that earns its silences, Tsouris writes and acts with equal precision.\n\nNeos Akadimos is at Ippokratous 17, accessible by metro. 17 April 2026 at 21:00. Tickets through more.com.\n\nSeven years, 450 performances — and the apartment still has not been cleared out.", "hasNativeGreek": false, "startDate": "2026-04-17", "endDate": null, "type": "theater", "genres": [], "tags": [ "Drama", "Seated", "Theater-regulars", "Greek-language", "Metro-accessible", "Greek-locals", "Mixed-ages" ], "venue": { "name": "Νέος Ακάδημος", "address": "Νέος Ακάδημος, 17", "neighborhood": "", "coordinates": { "lat": 37.9822, "lon": 23.73426 }, "capacity": null }, "price": { "type": "paid", "amount": 120, "currency": "EUR", "range": "€120" }, "url": "https://www.athinorama.gr/theatre/performance/170_tetragonika__moonwalk-10063940/", "ticketUrl": "https://www.viva.gr/tickets/theater/", "source": "athinorama.gr", "createdAt": "2026-02-08 12:53:02", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:00", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/2f/2f7bbe4116d94558b9293816a2f59759.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/0878e121fcab6868.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "2e48193ff4939cf6", "title": "Ο Μαγιακόφσκι στους αιώνες", "description": "Εως 2026-05-29", "hasNativeGreek": false, "startDate": "2026-04-17T20:30:00", "endDate": null, "type": "theater", "genres": [], "tags": [], "venue": { "name": "Χώρος Τέχνης Ηχόδραση", "address": "Genneou Kolokotroni 12, Athina 117 41", "neighborhood": "", "coordinates": { "lat": 37.962608, "lon": 23.718597 }, "capacity": null }, "price": { "type": "paid", "amount": 10, "currency": "EUR", "range": "€10" }, "url": "https://www.athinorama.gr/theatre/performance/o_magiakofski_stous_aiones-10085896/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/o_magiakofski_stous_aiones-10085896/", "source": "athinorama.gr", "createdAt": "2026-04-08 10:46:13", "updatedAt": "2026-04-15 12:12:34", "language": "en", "timeDoors": "20:30", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/00/0035fb07a37041c6810302af038a29f4.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/2e48193ff4939cf6.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "53664d66af695ee3", "title": "Λεονάρντα", "description": "Εως 2026-04-26", "hasNativeGreek": false, "startDate": "2026-04-17T20:30:00", "endDate": null, "type": "theater", "genres": [], "tags": [], "venue": { "name": "Δημοτικό Θέατρο Πειραιά", "address": "Iroon Polytechniou 32, Piraeus 185 35", "neighborhood": "Piraeus", "coordinates": { "lat": 37.9429, "lon": 23.647 }, "capacity": null }, "price": { "type": "paid", "amount": 5, "currency": "EUR", "range": "€5 - €15" }, "url": "https://www.athinorama.gr/theatre/performance/leonarnta-10078115/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/leonarnta-10078115/", "source": "athinorama.gr", "createdAt": "2026-04-08 17:29:31", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "20:30", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/69/6900c197d55a4c648d2b2498627d5034.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/53664d66af695ee3.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "084c5a4bb1f158ce", "title": "Blunted - Δήμητρες και Περσεφόνες", "description": "", "fullDescription": "A mother and daughter meet in a house full of ghosts — a dead father, a racist brother, the phantom of a normal family. Sofianna Theofanou's BLUNTED filters Demeter and Persephone through a middle-class Greek living room where love and denial share the same chair.\n\nTheofanou trained at the Karolos Koun School of Drama and spent twelve years with the National Theatre. She holds the State Award for children's theatrical work. Maria Xanthopoulidou directs.\n\nThe seats fill with people who know family reunions are negotiations without a ceasefire.\n\nThe Persephone myth provides the frame: a separation never completed, a mother who cannot release, a daughter who cannot return on her own terms. Theofanou writes both women with equal weight.\n\nIf you want mythology at a comfortable distance, this play puts it in the kitchen. But if you want a new Greek text that earns its source material, the writing is precise.\n\nKamiros is at Ithakis 32. 17 April 2026 at 21:00. Tickets through more.com.\n\nTwo women, one myth, a living room that holds what neither can say aloud.", "fullDescriptionEn": "A mother and daughter meet in a house full of ghosts — a dead father, a racist brother, the phantom of a normal family. Sofianna Theofanou's BLUNTED filters Demeter and Persephone through a middle-class Greek living room where love and denial share the same chair.\n\nTheofanou trained at the Karolos Koun School of Drama and spent twelve years with the National Theatre. She holds the State Award for children's theatrical work. Maria Xanthopoulidou directs.\n\nThe seats fill with people who know family reunions are negotiations without a ceasefire.\n\nThe Persephone myth provides the frame: a separation never completed, a mother who cannot release, a daughter who cannot return on her own terms. Theofanou writes both women with equal weight.\n\nIf you want mythology at a comfortable distance, this play puts it in the kitchen. But if you want a new Greek text that earns its source material, the writing is precise.\n\nKamiros is at Ithakis 32. 17 April 2026 at 21:00. Tickets through more.com.\n\nTwo women, one myth, a living room that holds what neither can say aloud.", "fullDescriptionGr": "A mother and daughter meet in a house full of ghosts — a dead father, a racist brother, the phantom of a normal family. Sofianna Theofanou's BLUNTED filters Demeter and Persephone through a middle-class Greek living room where love and denial share the same chair.\n\nTheofanou trained at the Karolos Koun School of Drama and spent twelve years with the National Theatre. She holds the State Award for children's theatrical work. Maria Xanthopoulidou directs.\n\nThe seats fill with people who know family reunions are negotiations without a ceasefire.\n\nThe Persephone myth provides the frame: a separation never completed, a mother who cannot release, a daughter who cannot return on her own terms. Theofanou writes both women with equal weight.\n\nIf you want mythology at a comfortable distance, this play puts it in the kitchen. But if you want a new Greek text that earns its source material, the writing is precise.\n\nKamiros is at Ithakis 32. 17 April 2026 at 21:00. 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"https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/e1/e1fb36c960ae493581c9b88bf8d1d217.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/f00de8c3a941be37.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "9f04cd3ddeac384f", "title": "Το ποδήλατο της Ωραίας Ελένης", "description": "", "hasNativeGreek": false, "startDate": "2026-04-19", "endDate": null, "type": "theater", "genres": [], "tags": [], "venue": { "name": "Παραμυθίας", "address": "Παραμυθιάς, Μεταξουργείο", "neighborhood": "", "coordinates": { "lat": 37.982182, "lon": 23.713749 }, "capacity": null }, "price": { "type": "paid", "amount": 15, "currency": "EUR", "range": "€15" }, "url": "https://www.athinorama.gr/theatre/performance/to_podilato_tis_oraias_elenis-10089830/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/to_podilato_tis_oraias_elenis-10089830/", "source": "athinorama.gr", "createdAt": "2026-04-10 18:08:12", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "20:30", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/59/59315ffa06c34003ae6f974c89b0147a.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/9f04cd3ddeac384f.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "f3a34f7e81cc21bc", "title": "Το πόδι της χήνας", "description": "Εως 2026-05-19", "hasNativeGreek": false, "startDate": "2026-04-19", "endDate": null, "type": "theater", "genres": [], "tags": [], "venue": { "name": "Από Μηχανής Θέατρο", "address": "Από μηχανής Θέατρο, Ακάδημου", "neighborhood": "", "coordinates": { "lat": 37.981978, "lon": 23.720367 }, "capacity": null }, "price": { "type": "paid", "amount": 15, "currency": "EUR", "range": "€15" }, "url": "https://www.athinorama.gr/theatre/performance/to_podi_tis_xinas-10089828/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/to_podi_tis_xinas-10089828/", "source": "athinorama.gr", "createdAt": "2026-04-10 18:08:12", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:15", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/06/06762ccc5b8d4dddb244294d71df4dd7.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/f3a34f7e81cc21bc.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "f47bc412b3157871", "title": "Τικ και Τέλα: Ο βατραχάκος", "description": "Εως 2026-05-10", "fullDescription": "Somewhere between a suitcase and a bedside table, a handmade frog has gone missing. Tela packed for her sleepover at Tik's house but forgot her beloved toy, and the small fear every toddler knows becomes the engine of the show.\n\nParamythochora puppet theater brings Axel Scheffler's story to Theatre 104 with handmade puppets, original music, and a set built to hold attention spans measured in minutes. Maria and Spyridoula Papageorgiou design and perform, working at eye level with an audience aged two to five.\n\nThe front rows belong to children who grip their parents' hands during the scary parts and shout advice at the puppets during the rest.\n\nIf your child needs screen-quality effects, this is handmade and analog. But if you want a story that meets bedtime fears with humor and a handcrafted frog, Paramythochora knows how long a small person can sit still.\n\nTheatre 104 is at Evmolpidon 41 in Gazi, near Kerameikos metro. 19 April 2026 at 10:30. Tickets at 9 EUR.\n\nThe frog gets found. The audience leaves braver than it arrived.", "fullDescriptionEn": "Somewhere between a suitcase and a bedside table, a handmade frog has gone missing. Tela packed for her sleepover at Tik's house but forgot her beloved toy, and the small fear every toddler knows becomes the engine of the show.\n\nParamythochora puppet theater brings Axel Scheffler's story to Theatre 104 with handmade puppets, original music, and a set built to hold attention spans measured in minutes. Maria and Spyridoula Papageorgiou design and perform, working at eye level with an audience aged two to five.\n\nThe front rows belong to children who grip their parents' hands during the scary parts and shout advice at the puppets during the rest.\n\nIf your child needs screen-quality effects, this is handmade and analog. But if you want a story that meets bedtime fears with humor and a handcrafted frog, Paramythochora knows how long a small person can sit still.\n\nTheatre 104 is at Evmolpidon 41 in Gazi, near Kerameikos metro. 19 April 2026 at 10:30. Tickets at 9 EUR.\n\nThe frog gets found. The audience leaves braver than it arrived.", "fullDescriptionGr": "Somewhere between a suitcase and a bedside table, a handmade frog has gone missing. Tela packed for her sleepover at Tik's house but forgot her beloved toy, and the small fear every toddler knows becomes the engine of the show.\n\nParamythochora puppet theater brings Axel Scheffler's story to Theatre 104 with handmade puppets, original music, and a set built to hold attention spans measured in minutes. Maria and Spyridoula Papageorgiou design and perform, working at eye level with an audience aged two to five.\n\nThe front rows belong to children who grip their parents' hands during the scary parts and shout advice at the puppets during the rest.\n\nIf your child needs screen-quality effects, this is handmade and analog. But if you want a story that meets bedtime fears with humor and a handcrafted frog, Paramythochora knows how long a small person can sit still.\n\nTheatre 104 is at Evmolpidon 41 in Gazi, near Kerameikos metro. 19 April 2026 at 10:30. Tickets at 9 EUR.\n\nThe frog gets found. The audience leaves braver than it arrived.", "hasNativeGreek": false, "startDate": "2026-04-19T10:30:00", "endDate": null, "type": "theater", "genres": [], "tags": [ "Drama", "Child-friendly", "Families", "Seated", "Participatory", "Gazi", "Metro-accessible", "Greek-language" ], "venue": { "name": "104", "address": "Eumolpidon 41, Athens 118 54", "neighborhood": "Gazi", "coordinates": { "lat": 37.98, "lon": 23.7112 }, "capacity": null }, "price": { "type": "tba", "amount": null, "currency": "EUR", "range": null }, "url": "https://www.athinorama.gr/theatre/performance/tik_kai_tela_o_batraxakos-10072637/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/tik_kai_tela_o_batraxakos-10072637/", "source": "athinorama.gr", "createdAt": "2026-04-03 05:10:06", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "10:30", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/bc/bcfc3f2b87fe4bf489210acb6ced332a.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/f47bc412b3157871.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "985cd39153307d16", "title": "ΑΜΛΕΤ (machine)", "description": "", "fullDescription": "Shakespeare wrote Hamlet in 1600. Heiner Muller disassembled it in 1977. Sofia Antoniou puts both on the same stage at Theatro Poreia and runs them simultaneously — a play inside a play inside a machine that refuses to stop.\n\nAntoniou layers Shakespeare's plot against Muller's five dense scenes of post-war European collapse. The result runs 120 minutes without intermission.\n\nTheatro Poreia draws the audience that reads the source texts before arrival and argues about them afterward in the bars around Plateia Victorias.\n\nHamlet asks whether to act. Muller asks whether action still means anything after the twentieth century dismantled the stage it stood on. Antoniou holds both questions open for two hours.\n\nIf you want a clear revenge narrative with a tidy fifth act, Shakespeare alone provides that. But if you want to watch one play eat another alive, this staging does not flinch.\n\nTheatro Poreia is at Trikorfon 3-5, near Victoria metro. 19 April 2026 at 21:00. Tickets from 15 EUR through more.com.\n\nTwo texts, four centuries apart, no intermission to recover between them.", "fullDescriptionEn": "Shakespeare wrote Hamlet in 1600. Heiner Muller disassembled it in 1977. Sofia Antoniou puts both on the same stage at Theatro Poreia and runs them simultaneously — a play inside a play inside a machine that refuses to stop.\n\nAntoniou layers Shakespeare's plot against Muller's five dense scenes of post-war European collapse. The result runs 120 minutes without intermission.\n\nTheatro Poreia draws the audience that reads the source texts before arrival and argues about them afterward in the bars around Plateia Victorias.\n\nHamlet asks whether to act. Muller asks whether action still means anything after the twentieth century dismantled the stage it stood on. Antoniou holds both questions open for two hours.\n\nIf you want a clear revenge narrative with a tidy fifth act, Shakespeare alone provides that. But if you want to watch one play eat another alive, this staging does not flinch.\n\nTheatro Poreia is at Trikorfon 3-5, near Victoria metro. 19 April 2026 at 21:00. Tickets from 15 EUR through more.com.\n\nTwo texts, four centuries apart, no intermission to recover between them.", "fullDescriptionGr": "Shakespeare wrote Hamlet in 1600. Heiner Muller disassembled it in 1977. Sofia Antoniou puts both on the same stage at Theatro Poreia and runs them simultaneously — a play inside a play inside a machine that refuses to stop.\n\nAntoniou layers Shakespeare's plot against Muller's five dense scenes of post-war European collapse. The result runs 120 minutes without intermission.\n\nTheatro Poreia draws the audience that reads the source texts before arrival and argues about them afterward in the bars around Plateia Victorias.\n\nHamlet asks whether to act. Muller asks whether action still means anything after the twentieth century dismantled the stage it stood on. Antoniou holds both questions open for two hours.\n\nIf you want a clear revenge narrative with a tidy fifth act, Shakespeare alone provides that. But if you want to watch one play eat another alive, this staging does not flinch.\n\nTheatro Poreia is at Trikorfon 3-5, near Victoria metro. 19 April 2026 at 21:00. Tickets from 15 EUR through more.com.\n\nTwo texts, four centuries apart, no intermission to recover between them.", "hasNativeGreek": false, "startDate": "2026-04-19T21:00:00", "endDate": null, "type": "theater", "genres": [], "tags": [ "Drama", "Experimental", "Seated", "Theater-regulars", "Greek-language", "Metro-accessible" ], "venue": { "name": "Πορεία at Victoria", "address": "Trikorfonon 3-5 & 3is Septemvriou 69, Athens 104 33", "neighborhood": "Plateia Viktorias", "coordinates": { "lat": 37.9912, "lon": 23.7294 }, "capacity": null }, "price": { "type": "paid", "amount": 15, "currency": "EUR", "range": "€15" }, "url": "https://www.more.com/gr-el/tickets/theater/amlet-machine/", "ticketUrl": "https://www.more.com/gr-el/tickets/theater/amlet-machine/", "source": "more.com", "createdAt": "2026-03-31 05:08:52", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:00", "timeSource": "scraped_listing", "imageUrl": "https://www.more.com/getattachment/e58cf839-66d4-428d-b0d7-fc60ddceb995/viva-tickets.png", "imageSource": "backfill", "imageLocal": "/images/events/985cd39153307d16.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "fd4bb6cf7d4a7014", "title": "Άμλετ (machine)", "description": "Εως 2026-06-02", "hasNativeGreek": false, "startDate": "2026-04-19T21:00:00", "endDate": null, "type": "theater", "genres": [], "tags": [], "venue": { "name": "Πορεία at Victoria", "address": "Trikorfonon 3-5 & 3is Septemvriou 69, Athens 104 33", "neighborhood": "Plateia Viktorias", "coordinates": { "lat": 37.9912, "lon": 23.7294 }, "capacity": null }, "price": { "type": "paid", "amount": 15, "currency": "EUR", "range": "€15 - €25" }, "url": "https://www.athinorama.gr/theatre/performance/amlet_machine-10089807/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/amlet_machine-10089807/", "source": "athinorama.gr", "createdAt": "2026-04-08 17:29:31", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:00", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/22/229bc84deb4c4cf2af627c499aa6f5f9.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/fd4bb6cf7d4a7014.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "997230a2ad2d815a", "title": "Τέλος το θέατρο", "description": "Εως 2026-05-27", "hasNativeGreek": false, "startDate": "2026-04-19T21:00:00", "endDate": null, "type": "theater", "genres": [], "tags": [], "venue": { "name": "Θησείον", "address": "Apostolou Pavlou 7, Athens 118 51", "neighborhood": "Thiseio", "coordinates": { "lat": 37.9727, "lon": 23.7204 }, "capacity": null }, "price": { "type": "paid", "amount": 20, "currency": "EUR", "range": "€20" }, "url": "https://www.athinorama.gr/theatre/performance/telos_to_theatro-10089819/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/telos_to_theatro-10089819/", "source": "athinorama.gr", "createdAt": "2026-04-08 17:29:31", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:00", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/1d/1df983a223ed43459065c211ba89d8db.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/997230a2ad2d815a.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "79638bd5d1ffe23b", "title": "MISERY", "description": "", "hasNativeGreek": false, "startDate": "2026-04-19T21:15:00", "endDate": null, "type": "theater", "genres": [], "tags": [], "venue": { "name": "Άνεσις", "address": "Leof. Kifisias 14, Athens 115 26", "neighborhood": "Ambelokipoi", "coordinates": { "lat": 37.9873, "lon": 23.7622 }, "capacity": null }, "price": { "type": "paid", "amount": 15, "currency": "EUR", "range": "€15" }, "url": "https://www.more.com/gr-el/tickets/theater/misery/", "ticketUrl": "https://www.more.com/gr-el/tickets/theater/misery/", "source": "more.com", "createdAt": "2026-04-08 10:46:13", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:15", "timeSource": "scraped_listing", "imageUrl": "https://www.more.com/getattachment/66955d8f-121e-4f14-b3bb-8e0a5c3d5f99/viva-tickets.png", "imageSource": "backfill", "imageLocal": "/images/events/79638bd5d1ffe23b.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "889e1649e4f1feb5", "title": "ΣΤΑΥΡΟΣ ΞΑΡΧΑΚΟΣ 5 Λαϊκές Μορφές «Με Τρόπον Εντόνως Ερωτικόν»", "description": "", "fullDescription": "Stavros Xarchakos sits at the center of a seven-piece orchestra inside Pallas Theatre on Voukourestiou. The program is 5 Laikes Morfes — five folk figures — spanning Markos Vamvakaris, Vassilis Tsitsanis, Manos Hadjidakis, Mikis Theodorakis, and Xarchakos himself. Iro Saia sings.\n\nXarchakos has composed for over six decades. He studied with Nadia Boulanger in Paris and David Diamond at Juilliard, then returned to Athens and scored the film Rembetiko. He directed the National Orchestra of Greek Music.\n\nThe audience knows these songs by heart and comes to hear what a master arranger does with material the whole country already owns.\n\nIf you want pop concert energy and a standing crowd, this is seated and attentive. But if you want to hear bouzouki, accordion, and double bass reshape songs you grew up with, Xarchakos conducts with six decades of authority.\n\nPallas Theatre is at Voukourestiou 5, accessible by metro. 20 April 2026 at 21:00. This performance is sold out.\n\nFive composers, one conductor, and a night being recorded for the archive.", "fullDescriptionEn": "Stavros Xarchakos sits at the center of a seven-piece orchestra inside Pallas Theatre on Voukourestiou. The program is 5 Laikes Morfes — five folk figures — spanning Markos Vamvakaris, Vassilis Tsitsanis, Manos Hadjidakis, Mikis Theodorakis, and Xarchakos himself. Iro Saia sings.\n\nXarchakos has composed for over six decades. He studied with Nadia Boulanger in Paris and David Diamond at Juilliard, then returned to Athens and scored the film Rembetiko. He directed the National Orchestra of Greek Music.\n\nThe audience knows these songs by heart and comes to hear what a master arranger does with material the whole country already owns.\n\nIf you want pop concert energy and a standing crowd, this is seated and attentive. But if you want to hear bouzouki, accordion, and double bass reshape songs you grew up with, Xarchakos conducts with six decades of authority.\n\nPallas Theatre is at Voukourestiou 5, accessible by metro. 20 April 2026 at 21:00. This performance is sold out.\n\nFive composers, one conductor, and a night being recorded for the archive.", "fullDescriptionGr": "Stavros Xarchakos sits at the center of a seven-piece orchestra inside Pallas Theatre on Voukourestiou. The program is 5 Laikes Morfes — five folk figures — spanning Markos Vamvakaris, Vassilis Tsitsanis, Manos Hadjidakis, Mikis Theodorakis, and Xarchakos himself. Iro Saia sings.\n\nXarchakos has composed for over six decades. He studied with Nadia Boulanger in Paris and David Diamond at Juilliard, then returned to Athens and scored the film Rembetiko. He directed the National Orchestra of Greek Music.\n\nThe audience knows these songs by heart and comes to hear what a master arranger does with material the whole country already owns.\n\nIf you want pop concert energy and a standing crowd, this is seated and attentive. But if you want to hear bouzouki, accordion, and double bass reshape songs you grew up with, Xarchakos conducts with six decades of authority.\n\nPallas Theatre is at Voukourestiou 5, accessible by metro. 20 April 2026 at 21:00. This performance is sold out.\n\nFive composers, one conductor, and a night being recorded for the archive.", "hasNativeGreek": false, "startDate": "2026-04-20", "endDate": null, "type": "theater", "genres": [], "tags": [ "Greek-Traditional", "Laiko", "Rebetiko", "Live-band", "Seated", "Historic", "Kolonaki", "Metro-accessible", "Greek-locals", "Mixed-ages" ], "venue": { "name": "Θέατρο Παλλάς", "address": "Voukourestiou 5, Athens 106 71", "neighborhood": "Syntagma / City Center", "coordinates": { "lat": 37.9785, "lon": 23.734 }, "capacity": null }, "price": { "type": "tba", "amount": 18, "currency": "EUR", "range": "€18 - €100" }, "url": "https://www.ticketservices.gr/event/14085/", "ticketUrl": "https://www.ticketservices.gr/event/14085/", "source": "ticketservices", "createdAt": "2026-02-09 16:12:58", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:00", "timeSource": "scraped_listing", "imageUrl": 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But if you've been looking for an evening where movement tells stories words cannot — Christmas Theater holds this particular poetry.\n\n| Info | Details |\n|------|---------|\n| **Date** | Wednesday, April 22, 2026 |\n| **Time** | Evening |\n| **Venue** | Christmas Theater |\n| **Company** | Marcos Ayala Tango |\n| **Style** | Golden Age tango |\n| **Price** | Check venue |\n| **Duration** | ~90 minutes |\n\nMarcos Ayala — tango's golden years, alive tonight.", "hasNativeGreek": false, "startDate": "2026-04-22T20:00:00+03:00", "endDate": null, "type": "performance", "genres": [ "general" ], "tags": [], "venue": { "name": "Christmas Theater", "address": "Leof. Veikou 137, Galatsi Olympic Hall, Athens 111 46", "neighborhood": "Galatsi", "coordinates": { "lat": 38.0165, "lon": 23.7545 }, "capacity": null }, "price": { "type": "with-ticket", "amount": 15, "currency": "EUR", "range": "από €15" }, "url": "https://www.more.com/gr-el/tickets/dance/marcos-ayala-tango-the-golden-years/", "ticketUrl": "https://www.more.com/gr-el/tickets/dance/marcos-ayala-tango-the-golden-years/", "source": "more.com", "createdAt": "2025-10-31T12:22:35.864Z", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "20:00", "timeSource": "extracted_from_start_date", "imageUrl": "https://www.more.com/getattachment/ec7a06de-9984-46d7-b1d2-6e66f8009570/viva-tickets.png", "imageSource": "backfill", "imageLocal": "/images/events/marcos-ayala-tango-the-golden-years-2026-04-22.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "9054d739871fe8ff", "title": "ΚΟΜΜΑ", "description": "Εως 2026-05-27", "hasNativeGreek": false, "startDate": "2026-04-22T21:30:00", "endDate": null, "type": "theater", "genres": [], "tags": [], "venue": { "name": "Αλκμήνη", "address": "Alkminis 8-12, Athens 118 54", "neighborhood": "Petralona", "coordinates": { "lat": 37.9754, "lon": 23.7122 }, "capacity": null }, "price": { "type": "paid", "amount": 14, "currency": "EUR", "range": "€14" }, "url": "https://www.athinorama.gr/theatre/performance/komma-10089814/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/komma-10089814/", "source": "athinorama.gr", "createdAt": "2026-04-08 17:29:31", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:30", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/74/7464e58ed8ef4d9391adc078c127e378.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/9054d739871fe8ff.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "1f89f6d32a1da8c4", "title": "ΤΖΕΝΗ ΤΖΕΝΗ", "description": "", "fullDescription": "The 1966 film Tzeni Tzeni sold 587,323 tickets and made Jenny Karezi a household name. Nikos Karathanos brings the comedy to the Municipal Theatre of Piraeus as A Sunny Requiem — part homage, part reinvention, timed to the centenary of screenwriter Kostas Pretendelis.\n\nKarathanos directs and plays the father, Kosmas Skoutari. Galini Chatzipaschali takes the title role. Christos Loulis, Haris Alexiou, Zeta Makrypoulia, and Ioanna Mavrea fill out a cast that treats the source with affection and nerve.\n\nThe audience arrives in two camps: those who have seen the film dozens of times and those who know the lines from their parents.\n\nIf you want a faithful screen-to-stage transfer, Karathanos does not do replicas. But if you want a director who understands why Greece remembers this story, this is the production.\n\nDimotiko Theatro is at Iroon Polytechneiou 32 in Piraeus, steps from Dimotiko Theatro metro. 23 April 2026. Tickets through more.com.\n\nSixty years later, the same story — staged by a director who trusts it enough to change it.", "fullDescriptionEn": "The 1966 film Tzeni Tzeni sold 587,323 tickets and made Jenny Karezi a household name. Nikos Karathanos brings the comedy to the Municipal Theatre of Piraeus as A Sunny Requiem — part homage, part reinvention, timed to the centenary of screenwriter Kostas Pretendelis.\n\nKarathanos directs and plays the father, Kosmas Skoutari. Galini Chatzipaschali takes the title role. Christos Loulis, Haris Alexiou, Zeta Makrypoulia, and Ioanna Mavrea fill out a cast that treats the source with affection and nerve.\n\nThe audience arrives in two camps: those who have seen the film dozens of times and those who know the lines from their parents.\n\nIf you want a faithful screen-to-stage transfer, Karathanos does not do replicas. But if you want a director who understands why Greece remembers this story, this is the production.\n\nDimotiko Theatro is at Iroon Polytechneiou 32 in Piraeus, steps from Dimotiko Theatro metro. 23 April 2026. Tickets through more.com.\n\nSixty years later, the same story — staged by a director who trusts it enough to change it.", "fullDescriptionGr": "The 1966 film Tzeni Tzeni sold 587,323 tickets and made Jenny Karezi a household name. Nikos Karathanos brings the comedy to the Municipal Theatre of Piraeus as A Sunny Requiem — part homage, part reinvention, timed to the centenary of screenwriter Kostas Pretendelis.\n\nKarathanos directs and plays the father, Kosmas Skoutari. Galini Chatzipaschali takes the title role. Christos Loulis, Haris Alexiou, Zeta Makrypoulia, and Ioanna Mavrea fill out a cast that treats the source with affection and nerve.\n\nThe audience arrives in two camps: those who have seen the film dozens of times and those who know the lines from their parents.\n\nIf you want a faithful screen-to-stage transfer, Karathanos does not do replicas. But if you want a director who understands why Greece remembers this story, this is the production.\n\nDimotiko Theatro is at Iroon Polytechneiou 32 in Piraeus, steps from Dimotiko Theatro metro. 23 April 2026. Tickets through more.com.\n\nSixty years later, the same story — staged by a director who trusts it enough to change it.", "hasNativeGreek": false, "startDate": "2026-04-23", "endDate": null, "type": "theater", "genres": [], "tags": [ "Drama", "Comedy", "Historic", "Seated", "Mainstream", "Piraeus", "Metro-accessible", "Greek-locals", "Mixed-ages", "Greek-language" ], "venue": { "name": "Δημοτικό Θέατρο Πειραιά", "address": "Iroon Polytechniou 32, Piraeus 185 35", "neighborhood": "Piraeus", "coordinates": { "lat": 37.9429, "lon": 23.647 }, "capacity": null }, "price": { "type": "paid", "amount": 25, "currency": "EUR", "range": "€25" }, "url": "https://www.more.com/gr-el/tickets/theater/tzeni-tzeni/", "ticketUrl": "https://www.more.com/gr-el/tickets/theater/tzeni-tzeni/", "source": "more.com", "createdAt": "2026-02-17 12:08:52", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "20:30", "timeSource": "scraped_listing", "imageUrl": "https://www.more.com/getattachment/584d349e-a6f3-42ea-995f-40c5ce267da7/viva-tickets.png", "imageSource": "backfill", "imageLocal": "/images/events/1f89f6d32a1da8c4.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "47ebf66b696a65d4", "title": "CAVEMAN", "description": "", "fullDescription": "A man in overalls walks to the center of the stage, draws a cave painting on an invisible wall, and starts explaining why his wife sends him to buy one thing at the supermarket and he comes back with seven wrong items.\n\nRob Becker wrote Defending the Caveman in 1991 and it became the longest-running one-man show in Broadway history. Sotiris Kalyvatsis performs the Greek adaptation, directed by Giorgos Galitis, wearing the role with the timing of someone who has toured it across Greece.\n\nIf you want nuanced relationship drama, this is ninety minutes of stand-up-meets-theater that trades in broad gender comedy. But if you want to laugh at recognizable domestic absurdity with a room full of couples nudging each other, Kalyvatsis keeps the gags landing.\n\nTheatro Argo, Elefsiniou 15 in Metaxourgio. Curtain at 21:00, duration ninety minutes.\n\nThe show has been filling rooms since 1991 and the material has not aged out of relevance — or out of arguments.", "fullDescriptionEn": "A man in overalls walks to the center of the stage, draws a cave painting on an invisible wall, and starts explaining why his wife sends him to buy one thing at the supermarket and he comes back with seven wrong items.\n\nRob Becker wrote Defending the Caveman in 1991 and it became the longest-running one-man show in Broadway history. Sotiris Kalyvatsis performs the Greek adaptation, directed by Giorgos Galitis, wearing the role with the timing of someone who has toured it across Greece.\n\nIf you want nuanced relationship drama, this is ninety minutes of stand-up-meets-theater that trades in broad gender comedy. But if you want to laugh at recognizable domestic absurdity with a room full of couples nudging each other, Kalyvatsis keeps the gags landing.\n\nTheatro Argo, Elefsiniou 15 in Metaxourgio. Curtain at 21:00, duration ninety minutes.\n\nThe show has been filling rooms since 1991 and the material has not aged out of relevance — or out of arguments.", "fullDescriptionGr": "A man in overalls walks to the center of the stage, draws a cave painting on an invisible wall, and starts explaining why his wife sends him to buy one thing at the supermarket and he comes back with seven wrong items.\n\nRob Becker wrote Defending the Caveman in 1991 and it became the longest-running one-man show in Broadway history. Sotiris Kalyvatsis performs the Greek adaptation, directed by Giorgos Galitis, wearing the role with the timing of someone who has toured it across Greece.\n\nIf you want nuanced relationship drama, this is ninety minutes of stand-up-meets-theater that trades in broad gender comedy. But if you want to laugh at recognizable domestic absurdity with a room full of couples nudging each other, Kalyvatsis keeps the gags landing.\n\nTheatro Argo, Elefsiniou 15 in Metaxourgio. Curtain at 21:00, duration ninety minutes.\n\nThe show has been filling rooms since 1991 and the material has not aged out of relevance — or out of arguments.", "hasNativeGreek": false, "startDate": "2026-04-24T21:00:00", "endDate": null, "type": "theater", "genres": [], "tags": [ "live-theater", "comedy", "one-person-show", "contemporary-theater", "intimate-venue" ], "venue": { "name": "Αργώ", "address": "Elefsinion 13-15, Athens 104 37", "neighborhood": "Metaxourgeio", "coordinates": { "lat": 37.9871, "lon": 23.7198 }, "capacity": null }, "price": { "type": "paid", "amount": 15, "currency": "EUR", "range": "€15" }, "url": "https://www.more.com/gr-el/tickets/theater/caveman-athina/", "ticketUrl": "https://www.more.com/gr-el/tickets/theater/caveman-athina/", "source": "more.com", "createdAt": "2026-03-10 06:59:24", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:00", "timeSource": "scraped_listing", "imageUrl": "https://www.more.com/getattachment/e189b504-b781-40d5-98d8-890e08914b25/viva-tickets.png", "imageSource": "backfill", "imageLocal": "/images/events/47ebf66b696a65d4.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "fbf319fdf29144ed", "title": "Ρούντολφ Νουρέγιεφ - Άλμα προς την Ελευθερία", "description": "", "fullDescription": "The curtain rises on a hospital bed. A dancer's body, decades past its prime, still holds the discipline of someone trained to defy gravity. This is Nureyev's final hours, and Sergei Yankovsky plays them in a production that has drawn over a million viewers since its 2007 premiere at the Mariinsky Theatre in Saint Petersburg.\n\nYankovsky studied classical ballet for this role, blurring the line between actor and dancer. The script moves between the dying man and his younger self: the boy from Ufa, the defection at Le Bourget, the obsessive rehearsals.\n\nIf you want light entertainment, a deathbed monologue about artistic obsession is not that. But if you want one performer carrying an entire life onstage, Yankovsky has been doing exactly that for nineteen years.\n\nTheatro Katia Dandoulaki, Agiou Meletiou 61A. Performances 25 and 26 April at 20:30.\n\nNureyev would have understood that kind of stamina.", "fullDescriptionEn": "The curtain rises on a hospital bed. A dancer's body, decades past its prime, still holds the discipline of someone trained to defy gravity. This is Nureyev's final hours, and Sergei Yankovsky plays them in a production that has drawn over a million viewers since its 2007 premiere at the Mariinsky Theatre in Saint Petersburg.\n\nYankovsky studied classical ballet for this role, blurring the line between actor and dancer. The script moves between the dying man and his younger self: the boy from Ufa, the defection at Le Bourget, the obsessive rehearsals.\n\nIf you want light entertainment, a deathbed monologue about artistic obsession is not that. But if you want one performer carrying an entire life onstage, Yankovsky has been doing exactly that for nineteen years.\n\nTheatro Katia Dandoulaki, Agiou Meletiou 61A. Performances 25 and 26 April at 20:30.\n\nNureyev would have understood that kind of stamina.", "fullDescriptionGr": "The curtain rises on a hospital bed. A dancer's body, decades past its prime, still holds the discipline of someone trained to defy gravity. This is Nureyev's final hours, and Sergei Yankovsky plays them in a production that has drawn over a million viewers since its 2007 premiere at the Mariinsky Theatre in Saint Petersburg.\n\nYankovsky studied classical ballet for this role, blurring the line between actor and dancer. The script moves between the dying man and his younger self: the boy from Ufa, the defection at Le Bourget, the obsessive rehearsals.\n\nIf you want light entertainment, a deathbed monologue about artistic obsession is not that. But if you want one performer carrying an entire life onstage, Yankovsky has been doing exactly that for nineteen years.\n\nTheatro Katia Dandoulaki, Agiou Meletiou 61A. Performances 25 and 26 April at 20:30.\n\nNureyev would have understood that kind of stamina.", "hasNativeGreek": false, "startDate": "2026-04-25", "endDate": null, "type": "theater", "genres": [], "tags": [ "live-theater", "drama", "biographical", "one-person-show", "international-production" ], "venue": { "name": "Θέατρο Κάτια Δανδουλάκη", "address": "Agiou Meletiou 61, Athina 112 51", "neighborhood": "", "coordinates": { "lat": 38.000067, "lon": 23.733053 }, "capacity": null }, "price": { "type": "paid", "amount": 17, "currency": "EUR", "range": "€17" }, "url": "https://www.more.com/gr-el/tickets/theater/rountolf-nouregief-alma-pros-tin-eleutheria-2/", "ticketUrl": "https://www.more.com/gr-el/tickets/theater/rountolf-nouregief-alma-pros-tin-eleutheria-2/", "source": "more.com", "createdAt": "2026-02-09 16:48:30", "updatedAt": "2026-04-15 12:12:34", "language": "en", "timeDoors": "20:30", "timeSource": "scraped_listing", "imageUrl": "https://www.more.com/getattachment/d4f1ffab-73c4-4462-9e52-419625e4b2f4/viva-tickets.png", "imageSource": "backfill", "imageLocal": "/images/events/fbf319fdf29144ed.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "928bc5fd478f8fbe", "title": "ΑΚΡΟΠΟΛΗ ΣΤΑΛΙΝΓΚΡΑΝT", "description": "", "fullDescription": "What happens when you compress the largest battle in human history into a room with two actors and no scenery? The question is the production. Dimitris Athanitis wrote and directs Akropoli Stalingrant, and also performs alongside Giannis Apostolidis on a stage stripped to bare lights where every word carries the weight that set decoration normally would.\n\nAthanitis is a European Film Academy member whose work spans cinema and theater, including his 2023 stage production of Lady Macbeth. Here he turns from Shakespeare's ambition to Stalingrad's annihilation, with language doing the work of an army.\n\nIf you want spectacle and large-cast war drama, two actors and a bare stage offer none of that. But if you want text that turns a world-shaping battle into something you feel at close range, this is that kind of theater.\n\nTheatro Vafeio - Lakis Karalis, Agion Orous 16 in Votanikos. Curtain at 21:00.\n\nThe Battle of Stalingrad ended in 1943 and the arguments about what it meant have not.", "fullDescriptionEn": "What happens when you compress the largest battle in human history into a room with two actors and no scenery? The question is the production. Dimitris Athanitis wrote and directs Akropoli Stalingrant, and also performs alongside Giannis Apostolidis on a stage stripped to bare lights where every word carries the weight that set decoration normally would.\n\nAthanitis is a European Film Academy member whose work spans cinema and theater, including his 2023 stage production of Lady Macbeth. Here he turns from Shakespeare's ambition to Stalingrad's annihilation, with language doing the work of an army.\n\nIf you want spectacle and large-cast war drama, two actors and a bare stage offer none of that. But if you want text that turns a world-shaping battle into something you feel at close range, this is that kind of theater.\n\nTheatro Vafeio - Lakis Karalis, Agion Orous 16 in Votanikos. Curtain at 21:00.\n\nThe Battle of Stalingrad ended in 1943 and the arguments about what it meant have not.", "fullDescriptionGr": "What happens when you compress the largest battle in human history into a room with two actors and no scenery? The question is the production. Dimitris Athanitis wrote and directs Akropoli Stalingrant, and also performs alongside Giannis Apostolidis on a stage stripped to bare lights where every word carries the weight that set decoration normally would.\n\nAthanitis is a European Film Academy member whose work spans cinema and theater, including his 2023 stage production of Lady Macbeth. Here he turns from Shakespeare's ambition to Stalingrad's annihilation, with language doing the work of an army.\n\nIf you want spectacle and large-cast war drama, two actors and a bare stage offer none of that. But if you want text that turns a world-shaping battle into something you feel at close range, this is that kind of theater.\n\nTheatro Vafeio - Lakis Karalis, Agion Orous 16 in Votanikos. Curtain at 21:00.\n\nThe Battle of Stalingrad ended in 1943 and the arguments about what it meant have not.", "hasNativeGreek": false, "startDate": "2026-04-25T21:00:00", "endDate": null, "type": "theater", "genres": [], "tags": [ "live-theater", "drama", "political-theater", "contemporary-theater", "intimate-venue" ], "venue": { "name": "Βαφείο - Λάκης Καραλής", "address": "Agiou Orous 16 & Konstantinoupoleos 115, Athens 118 54", "neighborhood": "Votanikos", "coordinates": { "lat": 37.9741, "lon": 23.7063 }, "capacity": null }, "price": { "type": "paid", "amount": 12, "currency": "EUR", "range": "€12" }, "url": "https://www.more.com/gr-el/tickets/theater/akropoli-stalingkrant/", "ticketUrl": "https://www.more.com/gr-el/tickets/theater/akropoli-stalingkrant/", "source": "more.com", "createdAt": "2026-03-17 06:09:56", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:00", "timeSource": "scraped_listing", "imageUrl": "https://www.more.com/getattachment/9ff4fabf-c830-436d-af37-ffd0f86cb69a/viva-tickets.png", "imageSource": "backfill", "imageLocal": "/images/events/928bc5fd478f8fbe.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "74eb5b9c2a4f7b05", "title": "Μπουμπουλίνας 18", "description": "", "fullDescription": "Amalia Arseni walks onstage carrying her aunt's words. Kitty Arseni was an actress arrested in the summer of 1967, tortured at the security headquarters on Bouboulinas Street, and released in 1968 — when she fled Greece and testified before the Council of Europe, exposing the marks on her body to international observers.\n\nSofia Karagianni directs this stage adaptation of Arseni's memoir, placing the story on the main stage of Theatro tou Neou Kosmou. The premiere falls on 25 April, the anniversary of the restoration of democracy.\n\nIf you want comfortable theater that keeps its distance from history, this production puts you inside a detention cell. But if you want testimony turned into performance — personal memory made public and physical — this is the form it takes.\n\nTheatro tou Neou Kosmou, Antisthenous 7 in Neos Kosmos. Saturdays at 21:00, Sundays at 20:00.\n\nSome stories survive because someone chose to speak when silence was safer.", "fullDescriptionEn": "Amalia Arseni walks onstage carrying her aunt's words. Kitty Arseni was an actress arrested in the summer of 1967, tortured at the security headquarters on Bouboulinas Street, and released in 1968 — when she fled Greece and testified before the Council of Europe, exposing the marks on her body to international observers.\n\nSofia Karagianni directs this stage adaptation of Arseni's memoir, placing the story on the main stage of Theatro tou Neou Kosmou. The premiere falls on 25 April, the anniversary of the restoration of democracy.\n\nIf you want comfortable theater that keeps its distance from history, this production puts you inside a detention cell. But if you want testimony turned into performance — personal memory made public and physical — this is the form it takes.\n\nTheatro tou Neou Kosmou, Antisthenous 7 in Neos Kosmos. Saturdays at 21:00, Sundays at 20:00.\n\nSome stories survive because someone chose to speak when silence was safer.", "fullDescriptionGr": "Amalia Arseni walks onstage carrying her aunt's words. Kitty Arseni was an actress arrested in the summer of 1967, tortured at the security headquarters on Bouboulinas Street, and released in 1968 — when she fled Greece and testified before the Council of Europe, exposing the marks on her body to international observers.\n\nSofia Karagianni directs this stage adaptation of Arseni's memoir, placing the story on the main stage of Theatro tou Neou Kosmou. The premiere falls on 25 April, the anniversary of the restoration of democracy.\n\nIf you want comfortable theater that keeps its distance from history, this production puts you inside a detention cell. But if you want testimony turned into performance — personal memory made public and physical — this is the form it takes.\n\nTheatro tou Neou Kosmou, Antisthenous 7 in Neos Kosmos. Saturdays at 21:00, Sundays at 20:00.\n\nSome stories survive because someone chose to speak when silence was safer.", "hasNativeGreek": false, "startDate": "2026-04-25T21:00:00", "endDate": null, "type": "theater", "genres": [], "tags": [ "live-theater", "drama", "political-theater", "one-person-show", "contemporary-theater" ], "venue": { "name": "Θέατρο του Νέου Κόσμου", "address": "Antisthenous 7, Athens 117 45", "neighborhood": "Neos Kosmos", "coordinates": { "lat": 37.959, "lon": 23.731 }, "capacity": null }, "price": { "type": "paid", "amount": 15, "currency": "EUR", "range": "€15" }, "url": "https://www.more.com/gr-el/tickets/theater/mpoumpoulinas-2/", "ticketUrl": "https://www.more.com/gr-el/tickets/theater/mpoumpoulinas-2/", "source": "more.com", "createdAt": "2026-03-31 05:08:52", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:00", "timeSource": "scraped_listing", "imageUrl": "https://www.more.com/getattachment/b64aadc2-836f-4164-9967-8e2a9a1fd738/viva-tickets.png", "imageSource": "backfill", "imageLocal": "/images/events/74eb5b9c2a4f7b05.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "6a011656b0945d76", "title": "Ραψωδία Ω / Ιλιάδος Ηχώ", "description": "", "hasNativeGreek": false, "startDate": "2026-04-27T20:30:00+03:00", "endDate": null, "type": "theater", "genres": [ "classical" ], "tags": [], "venue": { "name": "Μέγαρο Μουσικής Αθηνών", "address": "Βασιλίσσης Σοφίας & Κόκκαλη", "neighborhood": "Kolonaki", "coordinates": { "lat": 37.975, "lon": 23.757 }, "capacity": null }, "price": { "type": "with-ticket", "amount": 25, "currency": "EUR", "range": "€15-80" }, "url": "https://www.megaron.gr/event/rapsodia-o-iliados-icho/", "ticketUrl": "https://www.megaron.gr/event/rapsodia-o-iliados-icho/", "source": "megaron.gr", "createdAt": "2026-03-06T06:06:48.916Z", "updatedAt": "2026-04-15 12:14:03", "language": "en", "imageUrl": "https://www.megaron.gr/wp-content/uploads/2026/02/╬σ_QV9A4246-Large.jpeg", "imageSource": "backfill", "imageLocal": "/images/events/6a011656b0945d76.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "67e0353d8f249fda", "title": "National Theatre: All My Sons", "description": "", "fullDescription": "The house lights dim in the Alexandra Trianti Hall and a living room appears on the screen — an American backyard, a broken tree, a family sitting in lawn chairs as if nothing is wrong. Bryan Cranston sits at the center of it, playing a man who has gotten away with something, and you can see it in the way his shoulders hold a stillness that is not quite relaxation.\n\nArthur Miller wrote All My Sons in 1947 as his first Broadway hit. Joe Keller manufactured faulty aircraft engine parts during the war; twenty-one pilots died. The play follows what happens when the past arrives at his front door in the form of his surviving son's fiancee. Ivo van Hove directs this production, filmed live at London's Wyndham's Theatre, reuniting with Cranston after their collaboration on Network. Marianne Jean-Baptiste plays Kate Keller and Paapa Essiedu plays Chris, the son who still believes his father is a good man.\n\n| Aspect | Details |\n|--------|---------|\n| Setting | Megaron's Alexandra Trianti Hall — 1,750 seats, full cinema-grade projection, the recorded performance filling the room at a scale that keeps the intimacy of theater while adding the precision of close-up camera work |\n| Vibe | Focused, quiet between scenes — this is an audience that came for Miller, not for popcorn |\n| Sound | Cranston's voice carries the particular weight of someone who knows exactly when to drop to a whisper — van Hove keeps the staging spare enough that dialogue does the damage |\n| Door | Tickets through megaron.gr, presented in English with Greek subtitles, in collaboration with the British Council and the British Embassy in Athens |\n\nVan Hove strips Miller's naturalism back further than most directors dare. No clutter on stage, no busy blocking — just the architecture of a lie collapsing in real time. Cranston plays Joe Keller as a man who genuinely believes he had no choice, and that conviction is what makes the performance work. You do not watch a villain. You watch a father who decided that his family mattered more than someone else's sons, and the play asks whether you would have done differently.\n\nJean-Baptiste's Kate knows the truth and has chosen not to. Essiedu's Chris carries the particular anguish of someone whose idealism is about to cost him everything. The three of them build a pressure that has nowhere to go except through the final scene.\n\nIf you want a feel-good evening, Miller wrote this play specifically to make that impossible. The moral argument has no comfortable exit. But if you want to watch first-rate actors work through one of the twentieth century's sharpest examinations of American guilt, van Hove's production earned five stars across London for a reason.\n\nMegaron Mousikis Athinon, Vasilissis Sofias Avenue — two-minute walk from Megaro Moussikis metro station. Screening on 28 April at 20:30. Tickets through megaron.gr.\n\nMiller wrote All My Sons seventy-nine years ago about wartime profiteering and parental self-deception — and the play still arrives before you are ready for it.", "fullDescriptionEn": "The house lights dim in the Alexandra Trianti Hall and a living room appears on the screen — an American backyard, a broken tree, a family sitting in lawn chairs as if nothing is wrong. Bryan Cranston sits at the center of it, playing a man who has gotten away with something, and you can see it in the way his shoulders hold a stillness that is not quite relaxation.\n\nArthur Miller wrote All My Sons in 1947 as his first Broadway hit. Joe Keller manufactured faulty aircraft engine parts during the war; twenty-one pilots died. The play follows what happens when the past arrives at his front door in the form of his surviving son's fiancee. Ivo van Hove directs this production, filmed live at London's Wyndham's Theatre, reuniting with Cranston after their collaboration on Network. Marianne Jean-Baptiste plays Kate Keller and Paapa Essiedu plays Chris, the son who still believes his father is a good man.\n\n| Aspect | Details |\n|--------|---------|\n| Setting | Megaron's Alexandra Trianti Hall — 1,750 seats, full cinema-grade projection, the recorded performance filling the room at a scale that keeps the intimacy of theater while adding the precision of close-up camera work |\n| Vibe | Focused, quiet between scenes — this is an audience that came for Miller, not for popcorn |\n| Sound | Cranston's voice carries the particular weight of someone who knows exactly when to drop to a whisper — van Hove keeps the staging spare enough that dialogue does the damage |\n| Door | Tickets through megaron.gr, presented in English with Greek subtitles, in collaboration with the British Council and the British Embassy in Athens |\n\nVan Hove strips Miller's naturalism back further than most directors dare. No clutter on stage, no busy blocking — just the architecture of a lie collapsing in real time. Cranston plays Joe Keller as a man who genuinely believes he had no choice, and that conviction is what makes the performance work. You do not watch a villain. You watch a father who decided that his family mattered more than someone else's sons, and the play asks whether you would have done differently.\n\nJean-Baptiste's Kate knows the truth and has chosen not to. Essiedu's Chris carries the particular anguish of someone whose idealism is about to cost him everything. The three of them build a pressure that has nowhere to go except through the final scene.\n\nIf you want a feel-good evening, Miller wrote this play specifically to make that impossible. The moral argument has no comfortable exit. But if you want to watch first-rate actors work through one of the twentieth century's sharpest examinations of American guilt, van Hove's production earned five stars across London for a reason.\n\nMegaron Mousikis Athinon, Vasilissis Sofias Avenue — two-minute walk from Megaro Moussikis metro station. Screening on 28 April at 20:30. Tickets through megaron.gr.\n\nMiller wrote All My Sons seventy-nine years ago about wartime profiteering and parental self-deception — and the play still arrives before you are ready for it.", "fullDescriptionGr": "The house lights dim in the Alexandra Trianti Hall and a living room appears on the screen — an American backyard, a broken tree, a family sitting in lawn chairs as if nothing is wrong. Bryan Cranston sits at the center of it, playing a man who has gotten away with something, and you can see it in the way his shoulders hold a stillness that is not quite relaxation.\n\nArthur Miller wrote All My Sons in 1947 as his first Broadway hit. Joe Keller manufactured faulty aircraft engine parts during the war; twenty-one pilots died. The play follows what happens when the past arrives at his front door in the form of his surviving son's fiancee. Ivo van Hove directs this production, filmed live at London's Wyndham's Theatre, reuniting with Cranston after their collaboration on Network. Marianne Jean-Baptiste plays Kate Keller and Paapa Essiedu plays Chris, the son who still believes his father is a good man.\n\n| Aspect | Details |\n|--------|---------|\n| Setting | Megaron's Alexandra Trianti Hall — 1,750 seats, full cinema-grade projection, the recorded performance filling the room at a scale that keeps the intimacy of theater while adding the precision of close-up camera work |\n| Vibe | Focused, quiet between scenes — this is an audience that came for Miller, not for popcorn |\n| Sound | Cranston's voice carries the particular weight of someone who knows exactly when to drop to a whisper — van Hove keeps the staging spare enough that dialogue does the damage |\n| Door | Tickets through megaron.gr, presented in English with Greek subtitles, in collaboration with the British Council and the British Embassy in Athens |\n\nVan Hove strips Miller's naturalism back further than most directors dare. No clutter on stage, no busy blocking — just the architecture of a lie collapsing in real time. Cranston plays Joe Keller as a man who genuinely believes he had no choice, and that conviction is what makes the performance work. You do not watch a villain. You watch a father who decided that his family mattered more than someone else's sons, and the play asks whether you would have done differently.\n\nJean-Baptiste's Kate knows the truth and has chosen not to. Essiedu's Chris carries the particular anguish of someone whose idealism is about to cost him everything. The three of them build a pressure that has nowhere to go except through the final scene.\n\nIf you want a feel-good evening, Miller wrote this play specifically to make that impossible. The moral argument has no comfortable exit. But if you want to watch first-rate actors work through one of the twentieth century's sharpest examinations of American guilt, van Hove's production earned five stars across London for a reason.\n\nMegaron Mousikis Athinon, Vasilissis Sofias Avenue — two-minute walk from Megaro Moussikis metro station. Screening on 28 April at 20:30. Tickets through megaron.gr.\n\nMiller wrote All My Sons seventy-nine years ago about wartime profiteering and parental self-deception — and the play still arrives before you are ready for it.", "hasNativeGreek": false, "startDate": "2026-04-28T20:30:00", "endDate": null, "type": "theater", "genres": [ "Classical", "Concert" ], "tags": [ "live-theater", "drama", "classic-play", "premium-venue", "international-production" ], "venue": { "name": "Μέγαρο Μουσικής Αθηνών", "address": "Vassilissis Sofias Avenue & Kokkali 1, Athens 115 21", "neighborhood": "Ilisia", "coordinates": { "lat": 37.975, "lon": 23.757 }, "capacity": null }, "price": { "type": "with-ticket", "amount": 25, "currency": "EUR", "range": "€15-80" }, "url": "https://www.megaron.gr/event/national-theatre-all-my-sons-2/", "ticketUrl": "https://www.megaron.gr/event/national-theatre-all-my-sons-2/", "source": "megaron.gr", "createdAt": "2026-03-06 07:38:39", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "20:30", "timeSource": "scraped_listing", "imageUrl": "https://www.megaron.gr/wp-content/uploads/2026/02/NTL-2026-All-My-Sons-Listing-Image-1240x874-1.jpg", "imageSource": "backfill", "imageLocal": "/images/events/67e0353d8f249fda.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "DanceEvent", "id": "0573ab33c1544927", "title": "By Heart | Tiago Rodrigues", "description": "Θέατρο", "fullDescription": "Ten people sit on stage who were in the audience five minutes ago. They do not know each other. They do not know what they are about to memorize. The man standing in front of them begins to speak, and the first line of a poem you half-recognize settles over the room like a question you forgot you had been carrying.\n\nTiago Rodrigues is a Portuguese playwright, actor, and director who has led the Festival d'Avignon — the world's foremost theater festival — since 2022, the first non-French artist to hold the position. By Heart, first performed in 2013, is the work that made his name travel. The premise: Rodrigues invites ten audience members on stage and teaches them Shakespeare's Sonnet 30 line by line. While they learn, he tells stories — about his grandmother Candida, who was going blind and asked him to choose one book to memorize before she lost her sight. About Fahrenheit 451, where people become living books to save literature from burning. About Pasternak smuggling Doctor Zhivago out of the Soviet Union in his memory. The stories orbit a single question: what happens when a text lives inside a person instead of on a page?\n\nThe Onassis Stegi audience for international theater tends to arrive already oriented — people who follow European festival circuits, who recognize Rodrigues' name from Avignon or the Wiener Festwochen, who read the program notes in the lobby before the house lights dim. But By Heart also draws a less expected crowd: people who came because someone told them this was the show where the audience ends up on stage reciting Shakespeare, and they wanted to see if that could possibly work.\n\n| Aspect | Details |\n|--------|---------|\n| **Setting** | Onassis Stegi main stage — 900-seat contemporary arts venue on Syngrou Avenue |\n| **Vibe** | Alert, participatory, intimate despite the scale — the room leans forward |\n| **Sound** | Spoken word, unamplified presence, the acoustics of a single voice filling a theater |\n| **Door** | Ticketed, presale phases — Phase B already sold out |\n\nThe performance builds through accumulation. Each story Rodrigues tells adds a layer to the act of memorization happening in front of you. The ten volunteers repeat lines, stumble, recover, help each other. By the midpoint, the audience is silently mouthing the words alongside them. The sonnet's themes — memory, loss, the recovery of what seemed gone — stop being literary analysis and become the experience itself. When the ten people on stage finally recite the complete poem from memory, the room holds still in a way that has nothing to do with politeness.\n\nIf you want conventional theater with a fourth wall, scripted dialogue, and a passive seat, By Heart dismantles those boundaries by design — the audience is the material. But if you want to sit in a room where a single performer convinces strangers to memorize Shakespeare and, in the process, makes an argument about why literature survives that you will carry home in your own memory, this is the production.\n\nOnassis Stegi is on Syngrou Avenue, reachable from Syngrou-Fix metro via a twelve-minute walk or the venue's free shuttle bus running every ten minutes on performance nights. Performances are May 11 and 12, approximately ninety minutes. Phase B presale has sold out — check the Onassis website for the next ticket release.\n\nTwo nights in Athens, from an artist who directs the largest theater festival in the world. The sonnet the audience memorizes lasts fourteen lines. The argument it makes about memory lasts longer.", "fullDescriptionEn": "Ten people sit on stage who were in the audience five minutes ago. They do not know each other. They do not know what they are about to memorize. The man standing in front of them begins to speak, and the first line of a poem you half-recognize settles over the room like a question you forgot you had been carrying.\n\nTiago Rodrigues is a Portuguese playwright, actor, and director who has led the Festival d'Avignon — the world's foremost theater festival — since 2022, the first non-French artist to hold the position. By Heart, first performed in 2013, is the work that made his name travel. The premise: Rodrigues invites ten audience members on stage and teaches them Shakespeare's Sonnet 30 line by line. While they learn, he tells stories — about his grandmother Candida, who was going blind and asked him to choose one book to memorize before she lost her sight. About Fahrenheit 451, where people become living books to save literature from burning. About Pasternak smuggling Doctor Zhivago out of the Soviet Union in his memory. The stories orbit a single question: what happens when a text lives inside a person instead of on a page?\n\nThe Onassis Stegi audience for international theater tends to arrive already oriented — people who follow European festival circuits, who recognize Rodrigues' name from Avignon or the Wiener Festwochen, who read the program notes in the lobby before the house lights dim. But By Heart also draws a less expected crowd: people who came because someone told them this was the show where the audience ends up on stage reciting Shakespeare, and they wanted to see if that could possibly work.\n\n| Aspect | Details |\n|--------|---------|\n| **Setting** | Onassis Stegi main stage — 900-seat contemporary arts venue on Syngrou Avenue |\n| **Vibe** | Alert, participatory, intimate despite the scale — the room leans forward |\n| **Sound** | Spoken word, unamplified presence, the acoustics of a single voice filling a theater |\n| **Door** | Ticketed, presale phases — Phase B already sold out |\n\nThe performance builds through accumulation. Each story Rodrigues tells adds a layer to the act of memorization happening in front of you. The ten volunteers repeat lines, stumble, recover, help each other. By the midpoint, the audience is silently mouthing the words alongside them. The sonnet's themes — memory, loss, the recovery of what seemed gone — stop being literary analysis and become the experience itself. When the ten people on stage finally recite the complete poem from memory, the room holds still in a way that has nothing to do with politeness.\n\nIf you want conventional theater with a fourth wall, scripted dialogue, and a passive seat, By Heart dismantles those boundaries by design — the audience is the material. But if you want to sit in a room where a single performer convinces strangers to memorize Shakespeare and, in the process, makes an argument about why literature survives that you will carry home in your own memory, this is the production.\n\nOnassis Stegi is on Syngrou Avenue, reachable from Syngrou-Fix metro via a twelve-minute walk or the venue's free shuttle bus running every ten minutes on performance nights. Performances are May 11 and 12, approximately ninety minutes. Phase B presale has sold out — check the Onassis website for the next ticket release.\n\nTwo nights in Athens, from an artist who directs the largest theater festival in the world. The sonnet the audience memorizes lasts fourteen lines. The argument it makes about memory lasts longer.", "fullDescriptionGr": "Ten people sit on stage who were in the audience five minutes ago. They do not know each other. They do not know what they are about to memorize. The man standing in front of them begins to speak, and the first line of a poem you half-recognize settles over the room like a question you forgot you had been carrying.\n\nTiago Rodrigues is a Portuguese playwright, actor, and director who has led the Festival d'Avignon — the world's foremost theater festival — since 2022, the first non-French artist to hold the position. By Heart, first performed in 2013, is the work that made his name travel. The premise: Rodrigues invites ten audience members on stage and teaches them Shakespeare's Sonnet 30 line by line. While they learn, he tells stories — about his grandmother Candida, who was going blind and asked him to choose one book to memorize before she lost her sight. About Fahrenheit 451, where people become living books to save literature from burning. About Pasternak smuggling Doctor Zhivago out of the Soviet Union in his memory. The stories orbit a single question: what happens when a text lives inside a person instead of on a page?\n\nThe Onassis Stegi audience for international theater tends to arrive already oriented — people who follow European festival circuits, who recognize Rodrigues' name from Avignon or the Wiener Festwochen, who read the program notes in the lobby before the house lights dim. But By Heart also draws a less expected crowd: people who came because someone told them this was the show where the audience ends up on stage reciting Shakespeare, and they wanted to see if that could possibly work.\n\n| Aspect | Details |\n|--------|---------|\n| **Setting** | Onassis Stegi main stage — 900-seat contemporary arts venue on Syngrou Avenue |\n| **Vibe** | Alert, participatory, intimate despite the scale — the room leans forward |\n| **Sound** | Spoken word, unamplified presence, the acoustics of a single voice filling a theater |\n| **Door** | Ticketed, presale phases — Phase B already sold out |\n\nThe performance builds through accumulation. Each story Rodrigues tells adds a layer to the act of memorization happening in front of you. The ten volunteers repeat lines, stumble, recover, help each other. By the midpoint, the audience is silently mouthing the words alongside them. The sonnet's themes — memory, loss, the recovery of what seemed gone — stop being literary analysis and become the experience itself. When the ten people on stage finally recite the complete poem from memory, the room holds still in a way that has nothing to do with politeness.\n\nIf you want conventional theater with a fourth wall, scripted dialogue, and a passive seat, By Heart dismantles those boundaries by design — the audience is the material. But if you want to sit in a room where a single performer convinces strangers to memorize Shakespeare and, in the process, makes an argument about why literature survives that you will carry home in your own memory, this is the production.\n\nOnassis Stegi is on Syngrou Avenue, reachable from Syngrou-Fix metro via a twelve-minute walk or the venue's free shuttle bus running every ten minutes on performance nights. Performances are May 11 and 12, approximately ninety minutes. Phase B presale has sold out — check the Onassis website for the next ticket release.\n\nTwo nights in Athens, from an artist who directs the largest theater festival in the world. The sonnet the audience memorizes lasts fourteen lines. The argument it makes about memory lasts longer.", "hasNativeGreek": false, "startDate": "2026-05-12", "endDate": null, "type": "performance", "genres": [ "visual-arts", "Art", "Contemporary" ], "tags": [ "Experimental", "Intimate", "Polished", "Seated", "Concert-format", "Metro-accessible", "Card-accepted", "Reservation-required", "Mixed-ages", "Mixed-international", "Solo-friendly", "English-language", "Neos-Kosmos" ], "venue": { "name": "Onassis Stegi", "address": "Λεωφ. Συγγρού 107, Αθήνα", "neighborhood": "Κουκάκι", "coordinates": { "lat": 37.954, "lon": 23.7404 }, "capacity": null }, "price": { "type": "with-ticket", "amount": 15, "currency": "EUR", "range": "€10-35" }, "url": "https://www.onassis.org/el/whats-on/heart", "ticketUrl": "https://www.onassis.org/el/whats-on/heart", "source": "onassis", "createdAt": "2026-02-11T11:28:26.206Z", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "11:00", "imageSource": "not_found", "openingHours": { "mon": "closed", "tue": "11:00-20:00", "wed": "11:00-20:00", "thu": "11:00-20:00", "fri": "11:00-20:00", "sat": "11:00-20:00", "sun": "11:00-20:00" }, "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "224ae6bc44df30a2", "title": "Ευανθία Ρεμπούτσικα - 'Αρης Δαβαράκης «Τα τραγούδια μας»", "description": "", "fullDescription": "Evanthia Reboutsika and Aris Davarakis open their songbook at the Pallas. The composer and lyricist began writing together in 1995 with songs for Yannis Kotsiras's album Athoos Enochos, and have continued for three decades — supplying material that has been carried by Nana Mouskouri, Eleftheria Arvanitaki, Marios Frangoulis, and Elli Paspala, among others. 'Ta Tragoudia Mas' — Our Songs — gathers that catalogue for one evening, with Kostas Makedonas appearing as special guest.\n\nIf you want a one-voice singer-songwriter night, this is not that. But if you want to hear an entechno catalogue arranged for a single stage by the two people who built it, the Pallas has cleared 13 May.\n\nTheatro Pallas on Voukourestiou is a short walk from Syntagma metro. Tickets EUR 20 to EUR 65 by section. 21:00 doors. Three decades of Greek songwriting condensed into a single Wednesday evening.", "fullDescriptionEn": "Evanthia Reboutsika and Aris Davarakis open their songbook at the Pallas. The composer and lyricist began writing together in 1995 with songs for Yannis Kotsiras's album Athoos Enochos, and have continued for three decades — supplying material that has been carried by Nana Mouskouri, Eleftheria Arvanitaki, Marios Frangoulis, and Elli Paspala, among others. 'Ta Tragoudia Mas' — Our Songs — gathers that catalogue for one evening, with Kostas Makedonas appearing as special guest.\n\nIf you want a one-voice singer-songwriter night, this is not that. But if you want to hear an entechno catalogue arranged for a single stage by the two people who built it, the Pallas has cleared 13 May.\n\nTheatro Pallas on Voukourestiou is a short walk from Syntagma metro. Tickets EUR 20 to EUR 65 by section. 21:00 doors. Three decades of Greek songwriting condensed into a single Wednesday evening.", "fullDescriptionGr": "Evanthia Reboutsika and Aris Davarakis open their songbook at the Pallas. The composer and lyricist began writing together in 1995 with songs for Yannis Kotsiras's album Athoos Enochos, and have continued for three decades — supplying material that has been carried by Nana Mouskouri, Eleftheria Arvanitaki, Marios Frangoulis, and Elli Paspala, among others. 'Ta Tragoudia Mas' — Our Songs — gathers that catalogue for one evening, with Kostas Makedonas appearing as special guest.\n\nIf you want a one-voice singer-songwriter night, this is not that. But if you want to hear an entechno catalogue arranged for a single stage by the two people who built it, the Pallas has cleared 13 May.\n\nTheatro Pallas on Voukourestiou is a short walk from Syntagma metro. Tickets EUR 20 to EUR 65 by section. 21:00 doors. Three decades of Greek songwriting condensed into a single Wednesday evening.", "hasNativeGreek": false, "startDate": "2026-05-13T21:00:00", "endDate": null, "type": "theater", "genres": [], "tags": [ "Entechno", "Greek-singer-songwriter", "Concert-format", "Seated", "Mixed-ages", "Metro-accessible", "Local-favorite" ], "venue": { "name": "Θέατρο Παλλάς", "address": "Voukourestiou 5, Athens 106 71", "neighborhood": "Syntagma / City Center", "coordinates": { "lat": 37.9785, "lon": 23.734 }, "capacity": null }, "price": { "type": "tba", "amount": 20, "currency": "EUR", "range": "€20 - €65" }, "url": "https://www.ticketservices.gr/event/14285/", "ticketUrl": "https://www.ticketservices.gr/event/14285/", "source": "ticketservices", "createdAt": "2026-03-13 10:49:21", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:00", "timeSource": "scraped_listing", "imageUrl": "https://stream.ticketservices.gr/www.ticketservices.gr/pictures/original/b_61271_or_SOCIAL.jpg", "imageSource": "backfill", "imageLocal": "/images/events/224ae6bc44df30a2.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "9454cac8ff50ab94", "title": "This is Michael , το απόλυτο Tribute show στον Michael Jackson, Παρασκευή 15 Μαϊου Christmas Theater, Αθήνα", "description": "15 Μαιου This is Michael , το απόλυτο Tribute show στον Michael Jackson, Παρασκευή 15 Μαϊου Christmas Theater, Αθήνα CHRISTMAS THEATER", "fullDescription": "Walking into the Christmas Theater for \"This is Michael\" feels like stepping into someone's devotion made physical. The stage is set up for spectacle—lighting, costume, the kind of production that says this isn't casual. Michael Jackson's music is everywhere, so familiar it's become almost invisible. This show's job is to make you see it again through a performer's understanding of what it actually meant.\n\nA Michael Jackson tribute show seems like an obvious concept, but the Christmas Theater is the right venue for this. The intimacy of a theater stage actually lets you see the physical grammar of Jackson's movement more clearly than arenas ever could. \"This is Michael\" positions itself as appreciation, not parody. The performer has studied the catalog—the dance moves, the vocal techniques, the specific way Jackson approaches rhythm. This is respect made visible.\n\nThe crowd will be mixed across ages and backgrounds. People who grew up with Jackson as the sound of their youth. People discovering him anew through his influence on contemporary music. People who just love sharp pop performance. The room fills with recognition—everyone here has a Michael Jackson moment that matters to them. The show gives permission to feel that moment again.\n\nThe experience is a journey through the catalog, structured as narrative rather than chronological. Early numbers establish the foundation—the ballads that show vocal technique. Middle passages hit the cultural moments, the songs that became part of how people understood their own lives. Peak time is the physical spectacle, the moments where Jackson's innovation in video and performance becomes visible. The arc is designed to build toward joy.\n\n| Aspect | Details |\n|--------|---------|\n| **Setting** | Christmas Theater, seated, capacity ~300-400, close sightlines to stage |\n| **Vibe** | Celebratory, nostalgic, professionally executed |\n| **Sound** | Theater-grade sound system designed for clarity |\n| **Atmosphere** | Multigenerational, enthusiastic, warm |\n\nIf you need irony or are uncomfortable with sincere appreciation, the Christmas Theater's earnestness will feel disarming. But if you want to experience Michael Jackson's music performed with actual understanding, if you want permission to feel what his work meant to you—this is the place.\n\n| Info | Details |\n|------|---------|\n| **Date** | Friday, May 15, 2026 |\n| **Doors** | 19:30 |\n| **Music starts** | 20:00 |\n| **Duration** | ~90 minutes with interval |\n| **Price** | €15-25 (estimated) |\n| **Tickets** | Christmas Theater box office or advance |\n| **Address** | Αθήνα CHRISTMAS THEATER, Athens |\n| **Getting there** | Central Athens location, metro accessible |\n| **Last metro** | 00:30 |\n| **Payment** | Cards and cash |\n| **Good to know** | Families with children welcome; this is a show about joy and virtuosity |", "fullDescriptionEn": "Walking into the Christmas Theater for \"This is Michael\" feels like stepping into someone's devotion made physical. The stage is set up for spectacle—lighting, costume, the kind of production that says this isn't casual. Michael Jackson's music is everywhere, so familiar it's become almost invisible. This show's job is to make you see it again through a performer's understanding of what it actually meant.\n\nA Michael Jackson tribute show seems like an obvious concept, but the Christmas Theater is the right venue for this. The intimacy of a theater stage actually lets you see the physical grammar of Jackson's movement more clearly than arenas ever could. \"This is Michael\" positions itself as appreciation, not parody. The performer has studied the catalog—the dance moves, the vocal techniques, the specific way Jackson approaches rhythm. This is respect made visible.\n\nThe crowd will be mixed across ages and backgrounds. People who grew up with Jackson as the sound of their youth. People discovering him anew through his influence on contemporary music. People who just love sharp pop performance. The room fills with recognition—everyone here has a Michael Jackson moment that matters to them. The show gives permission to feel that moment again.\n\nThe experience is a journey through the catalog, structured as narrative rather than chronological. Early numbers establish the foundation—the ballads that show vocal technique. Middle passages hit the cultural moments, the songs that became part of how people understood their own lives. Peak time is the physical spectacle, the moments where Jackson's innovation in video and performance becomes visible. The arc is designed to build toward joy.\n\n| Aspect | Details |\n|--------|---------|\n| **Setting** | Christmas Theater, seated, capacity ~300-400, close sightlines to stage |\n| **Vibe** | Celebratory, nostalgic, professionally executed |\n| **Sound** | Theater-grade sound system designed for clarity |\n| **Atmosphere** | Multigenerational, enthusiastic, warm |\n\nIf you need irony or are uncomfortable with sincere appreciation, the Christmas Theater's earnestness will feel disarming. But if you want to experience Michael Jackson's music performed with actual understanding, if you want permission to feel what his work meant to you—this is the place.\n\n| Info | Details |\n|------|---------|\n| **Date** | Friday, May 15, 2026 |\n| **Doors** | 19:30 |\n| **Music starts** | 20:00 |\n| **Duration** | ~90 minutes with interval |\n| **Price** | €15-25 (estimated) |\n| **Tickets** | Christmas Theater box office or advance |\n| **Address** | Αθήνα CHRISTMAS THEATER, Athens |\n| **Getting there** | Central Athens location, metro accessible |\n| **Last metro** | 00:30 |\n| **Payment** | Cards and cash |\n| **Good to know** | Families with children welcome; this is a show about joy and virtuosity |", "fullDescriptionGr": "Walking into the Christmas Theater for \"This is Michael\" feels like stepping into someone's devotion made physical. The stage is set up for spectacle—lighting, costume, the kind of production that says this isn't casual. Michael Jackson's music is everywhere, so familiar it's become almost invisible. This show's job is to make you see it again through a performer's understanding of what it actually meant.\n\nA Michael Jackson tribute show seems like an obvious concept, but the Christmas Theater is the right venue for this. The intimacy of a theater stage actually lets you see the physical grammar of Jackson's movement more clearly than arenas ever could. \"This is Michael\" positions itself as appreciation, not parody. The performer has studied the catalog—the dance moves, the vocal techniques, the specific way Jackson approaches rhythm. This is respect made visible.\n\nThe crowd will be mixed across ages and backgrounds. People who grew up with Jackson as the sound of their youth. People discovering him anew through his influence on contemporary music. People who just love great pop performance. The room fills with recognition—everyone here has a Michael Jackson moment that matters to them. The show gives permission to feel that moment again.\n\nThe experience is a journey through the catalog, structured as narrative rather than chronological. Early numbers establish the foundation—the ballads that show vocal technique. Middle passages hit the cultural moments, the songs that became part of how people understood their own lives. Peak time is the physical spectacle, the moments where Jackson's innovation in video and performance becomes visible. The arc is designed to build toward joy.\n\n| Aspect | Details |\n|--------|---------|\n| **Setting** | Christmas Theater, seated, capacity ~300-400, close sightlines to stage |\n| **Vibe** | Celebratory, nostalgic, professionally executed |\n| **Sound** | Theater-grade sound system designed for clarity |\n| **Atmosphere** | Multigenerational, enthusiastic, warm |\n\nIf you need irony or are uncomfortable with sincere appreciation, the Christmas Theater's earnestness will feel disarming. But if you want to experience Michael Jackson's music performed with actual understanding, if you want permission to feel what his work meant to you—this is the place.\n\n| Info | Details |\n|------|---------|\n| **Date** | Friday, May 15, 2026 |\n| **Doors** | 19:30 |\n| **Music starts** | 20:00 |\n| **Duration** | ~90 minutes with interval |\n| **Price** | €15-25 (estimated) |\n| **Tickets** | Christmas Theater box office or advance |\n| **Address** | Αθήνα CHRISTMAS THEATER, Athens |\n| **Getting there** | Central Athens location, metro accessible |\n| **Last metro** | 00:30 |\n| **Payment** | Cards and cash |\n| **Good to know** | Families with children welcome; this is a show about joy and virtuosity |", "hasNativeGreek": false, "startDate": "2026-05-15T20:00:00+03:00", "endDate": null, "type": "theater", "genres": [ "music" ], "tags": [], "venue": { "name": "Christmas Theater", "address": "Λεωφ. Βεΐκου 137", "neighborhood": "Galatsi", "coordinates": { "lat": 38.0165, "lon": 23.7545 }, "capacity": null }, "price": { "type": "with-ticket", "amount": 35, "currency": "EUR", "range": "από €35" }, "url": "https://www.more.com/gr-el/tickets/music/this-is-michael/", "ticketUrl": "https://www.viva.gr/gr-el/tickets/music/this-is-michael/", "source": "more.com", "createdAt": "2026-01-19T23:07:36.324Z", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "20:00", "timeSource": "scraped_listing", "imageUrl": "https://www.more.com/getattachment/3fd424b7-e640-4ca0-aee7-73031cb88594/viva-tickets.png", "imageSource": "backfill", "imageLocal": "/images/events/9454cac8ff50ab94.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "2e97dbc8075a0bfc", "title": "National Theatre: The Playboy of the Western World", "description": "", "fullDescription": "A young man stumbles into a pub in County Mayo and announces he has killed his father. Instead of calling the police, the locals turn him into a celebrity. Nicola Coughlan watches him from behind the bar, playing Pegeen Mike with the particular wariness of someone who already knows she is going to fall for exactly the wrong person.\n\nJohn Millington Synge wrote The Playboy of the Western World in 1907 and the Abbey Theatre audience rioted on opening night — the language was too raw, the portrait of rural Ireland too unflattering. Caitriona McLaughlin, Artistic Director of the Abbey Theatre, directs this National Theatre production filmed live in London's Lyttelton Theatre. Eanna Hardwicke plays Christy Mahon, the supposed parricide. Siobhan McSweeney brings the sharp comedic instinct she honed in Derry Girls to the role of Widow Quin.\n\n| Aspect | Details |\n|--------|---------|\n| Setting | Megaron's Alexandra Trianti Hall — 1,750 seats, full cinema-grade projection, the Irish countryside filling the screen at a scale that makes the mud feel close |\n| Vibe | Laughter that keeps catching on something uncomfortable — Synge wrote comedy with teeth and this production lets them bite |\n| Sound | The Hiberno-English dialect is the engine of the play — McLaughlin keeps the rhythm of Synge's prose intact, letting sentences roll and crack like conversation overheard through a pub wall |\n| Door | Tickets through megaron.gr, presented in English with Greek subtitles, in collaboration with the British Council and the British Embassy in Athens |\n\nThe production leans into the absurdity rather than the romance. A community that glorifies violence and then recoils when it turns out to be real — Synge saw something about how stories work that has not changed in a hundred and nineteen years. Coughlan's Pegeen is vain, sharp, easily bored, and entirely convincing as someone who would choose danger over the steady man her father picked for her. Hardwicke builds Christy from terrified runaway to swaggering local hero with a physical transformation that the close-up camerawork catches in detail.\n\nThe final act turns. When reality punctures the myth, the village does what villages do — it protects itself. McLaughlin stages the reversal without sentimentality, and the last image of Pegeen alone carries the weight of a woman who chose the story over the man and lost both.\n\nIf you want gentle comedy with a tidy resolution, Synge did not write one. The laughs get progressively harder to separate from the cruelty. But if you want to watch a cast dismantle the mechanics of myth-making in real time, with language that sounds like it was written last week, this is what the National Theatre does at its best.\n\nMegaron Mousikis Athinon, Vasilissis Sofias Avenue — two-minute walk from Megaro Moussikis metro station. Screening on 28 May at 20:30. Tickets through megaron.gr.\n\nThe Abbey rioted in 1907 because Synge told the truth about storytelling — this production lets you decide whether the audience has caught up.", "fullDescriptionEn": "A young man stumbles into a pub in County Mayo and announces he has killed his father. Instead of calling the police, the locals turn him into a celebrity. Nicola Coughlan watches him from behind the bar, playing Pegeen Mike with the particular wariness of someone who already knows she is going to fall for exactly the wrong person.\n\nJohn Millington Synge wrote The Playboy of the Western World in 1907 and the Abbey Theatre audience rioted on opening night — the language was too raw, the portrait of rural Ireland too unflattering. Caitriona McLaughlin, Artistic Director of the Abbey Theatre, directs this National Theatre production filmed live in London's Lyttelton Theatre. Eanna Hardwicke plays Christy Mahon, the supposed parricide. Siobhan McSweeney brings the sharp comedic instinct she honed in Derry Girls to the role of Widow Quin.\n\n| Aspect | Details |\n|--------|---------|\n| Setting | Megaron's Alexandra Trianti Hall — 1,750 seats, full cinema-grade projection, the Irish countryside filling the screen at a scale that makes the mud feel close |\n| Vibe | Laughter that keeps catching on something uncomfortable — Synge wrote comedy with teeth and this production lets them bite |\n| Sound | The Hiberno-English dialect is the engine of the play — McLaughlin keeps the rhythm of Synge's prose intact, letting sentences roll and crack like conversation overheard through a pub wall |\n| Door | Tickets through megaron.gr, presented in English with Greek subtitles, in collaboration with the British Council and the British Embassy in Athens |\n\nThe production leans into the absurdity rather than the romance. A community that glorifies violence and then recoils when it turns out to be real — Synge saw something about how stories work that has not changed in a hundred and nineteen years. Coughlan's Pegeen is vain, sharp, easily bored, and entirely convincing as someone who would choose danger over the steady man her father picked for her. Hardwicke builds Christy from terrified runaway to swaggering local hero with a physical transformation that the close-up camerawork catches in detail.\n\nThe final act turns. When reality punctures the myth, the village does what villages do — it protects itself. McLaughlin stages the reversal without sentimentality, and the last image of Pegeen alone carries the weight of a woman who chose the story over the man and lost both.\n\nIf you want gentle comedy with a tidy resolution, Synge did not write one. The laughs get progressively harder to separate from the cruelty. But if you want to watch a cast dismantle the mechanics of myth-making in real time, with language that sounds like it was written last week, this is what the National Theatre does at its best.\n\nMegaron Mousikis Athinon, Vasilissis Sofias Avenue — two-minute walk from Megaro Moussikis metro station. Screening on 28 May at 20:30. Tickets through megaron.gr.\n\nThe Abbey rioted in 1907 because Synge told the truth about storytelling — this production lets you decide whether the audience has caught up.", "fullDescriptionGr": "A young man stumbles into a pub in County Mayo and announces he has killed his father. Instead of calling the police, the locals turn him into a celebrity. Nicola Coughlan watches him from behind the bar, playing Pegeen Mike with the particular wariness of someone who already knows she is going to fall for exactly the wrong person.\n\nJohn Millington Synge wrote The Playboy of the Western World in 1907 and the Abbey Theatre audience rioted on opening night — the language was too raw, the portrait of rural Ireland too unflattering. Caitriona McLaughlin, Artistic Director of the Abbey Theatre, directs this National Theatre production filmed live in London's Lyttelton Theatre. Eanna Hardwicke plays Christy Mahon, the supposed parricide. Siobhan McSweeney brings the sharp comedic instinct she honed in Derry Girls to the role of Widow Quin.\n\n| Aspect | Details |\n|--------|---------|\n| Setting | Megaron's Alexandra Trianti Hall — 1,750 seats, full cinema-grade projection, the Irish countryside filling the screen at a scale that makes the mud feel close |\n| Vibe | Laughter that keeps catching on something uncomfortable — Synge wrote comedy with teeth and this production lets them bite |\n| Sound | The Hiberno-English dialect is the engine of the play — McLaughlin keeps the rhythm of Synge's prose intact, letting sentences roll and crack like conversation overheard through a pub wall |\n| Door | Tickets through megaron.gr, presented in English with Greek subtitles, in collaboration with the British Council and the British Embassy in Athens |\n\nThe production leans into the absurdity rather than the romance. A community that glorifies violence and then recoils when it turns out to be real — Synge saw something about how stories work that has not changed in a hundred and nineteen years. Coughlan's Pegeen is vain, sharp, easily bored, and entirely convincing as someone who would choose danger over the steady man her father picked for her. Hardwicke builds Christy from terrified runaway to swaggering local hero with a physical transformation that the close-up camerawork catches in detail.\n\nThe final act turns. When reality punctures the myth, the village does what villages do — it protects itself. McLaughlin stages the reversal without sentimentality, and the last image of Pegeen alone carries the weight of a woman who chose the story over the man and lost both.\n\nIf you want gentle comedy with a tidy resolution, Synge did not write one. The laughs get progressively harder to separate from the cruelty. But if you want to watch a cast dismantle the mechanics of myth-making in real time, with language that sounds like it was written last week, this is what the National Theatre does at its best.\n\nMegaron Mousikis Athinon, Vasilissis Sofias Avenue — two-minute walk from Megaro Moussikis metro station. Screening on 28 May at 20:30. Tickets through megaron.gr.\n\nThe Abbey rioted in 1907 because Synge told the truth about storytelling — this production lets you decide whether the audience has caught up.", "hasNativeGreek": false, "startDate": "2026-05-28T20:30:00+03:00", "endDate": null, "type": "theater", "genres": [ "classical" ], "tags": [], "venue": { "name": "Μέγαρο Μουσικής Αθηνών", "address": "Βασιλίσσης Σοφίας & Κόκκαλη", "neighborhood": "Kolonaki", "coordinates": { "lat": 37.975, "lon": 23.757 }, "capacity": null }, "price": { "type": "with-ticket", "amount": 25, "currency": "EUR", "range": "€15-80" }, "url": "https://www.megaron.gr/event/national-theatre-the-playboy-of-the-western-world-2/", "ticketUrl": "https://www.megaron.gr/event/national-theatre-the-playboy-of-the-western-world-2/", "source": "megaron.gr", "createdAt": "2026-03-06T06:06:48.928Z", "updatedAt": "2026-04-15 12:14:03", "language": "en", "imageUrl": "https://www.megaron.gr/wp-content/uploads/2026/03/NTL-2026-The-Playboy-of-the-Western-World-Listing-Images-Landscape-1240x874px.jpg", "imageSource": "backfill", "imageLocal": "/images/events/2e97dbc8075a0bfc.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "02657984adc04637", "title": "Σαίξπηρ: Ό,τι προτιμάτε – Δραματική Σχολή Ωδείου Αθηνών", "description": "", "hasNativeGreek": false, "startDate": "2026-06-04T20:30:00", "endDate": null, "type": "theater", "genres": [ "Classical", "Concert" ], "tags": [], "venue": { "name": "Μέγαρο Μουσικής Αθηνών", "address": "Vassilissis Sofias Avenue & Kokkali 1, Athens 115 21", "neighborhood": "Ilisia", "coordinates": { "lat": 37.975, "lon": 23.757 }, "capacity": null }, "price": { "type": "with-ticket", "amount": 25, "currency": "EUR", "range": "€15-80" }, "url": "https://www.megaron.gr/event/saixpir-oti-protimatedramatiki-scholi-odeiou-athinon/", "ticketUrl": "https://www.megaron.gr/event/saixpir-oti-protimatedramatiki-scholi-odeiou-athinon/", "source": "megaron.gr", "createdAt": "2026-04-08 10:46:13", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "20:30", "timeSource": "scraped_listing", "imageUrl": "https://www.megaron.gr/wp-content/uploads/2026/02/ODEIO-ATHINON-Oti-protimate.jpg", "imageSource": "backfill", "imageLocal": "/images/events/02657984adc04637.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "eff502c25197a121", "title": "Professor BRIAN COX: Emergence", "description": "24 Σεπτεμβριου Professor BRIAN COX: Emergence CHRISTMAS THEATER", "fullDescription": "The lights lower and the stage becomes a lecturer's podium converted into something that feels like science theater. Brian Cox arrives, and you settle into seats knowing that the next hours will expand your understanding of how the universe works while making you laugh at least twice. Christmas Theater fills with people who've decided that emergency and emergence deserve equal attention.\n\nBrian Cox brings his particular alchemy to scientific communication. The physicist understands that wonder is the gateway to understanding, that humor disarms defensiveness, that complexity becomes digestible when presented by someone genuinely excited about the subject. His shows function as TED talks that remember TED invented the format to make ideas matter.\n\n\"Emergence\" as a concept encompasses everything from particle physics through consciousness. Cox explores how complex systems develop from simple rules, how patterns emerge from chaos, why consciousness remains simultaneously explicable and mysterious. The presentation includes slides, video, and Cox's particular skill at making the abstract concrete through analogy and example.\n\nChristmas Theater provides the theatrical frame this kind of presentation requires. The venue's dramatic history — over a century of performances — adds weight to an evening already conceptually dense. The stage technology allows for sophisticated visual support, the sound system carries Cox's sometimes-rapid speech clearly, the seating positions audiences for genuine engagement rather than passive reception.\n\nThe crowd mixes demographics in specific ways. Scientists and science students. Teachers building curricula. Families introducing children to cosmic perspective. Cox enthusiasts who follow his media work. The conversations before the show compare favorite books or podcasts, establish the shared context that makes this kind of event meaningful.\n\nCox's delivery will determine the evening's success. His credibility rests on genuine expertise — he works at CERN, publishes peer-reviewed research, understands physics at levels most communicators don't approach. When he explains why quantum mechanics challenges our intuitions, he's speaking from deep knowledge translated into accessibility.\n\nIf you need entertainment divorced from intellectual demand, Brian Cox will frustrate expectations. This is genuinely educational content, delivered with production values. But if you've been seeking science communication that treats audiences like intelligent beings capable of grasping sophisticated concepts — Christmas Theater holds this particular enlightenment.\n\n| Info | Details |\n|------|---------| \n| **Date** | Thursday, September 24, 2026 |\n| **Time** | Evening |\n| **Venue** | Christmas Theater |\n| **Presenter** | Brian Cox |\n| **Topic** | Emergence |\n| **Price** | Check venue |\n| **Duration** | ~2 hours |\n\nBrian Cox on Emergence — science as wonder, clarity as gift.", "fullDescriptionEn": "The lights lower and the stage becomes a lecturer's podium converted into something that feels like science theater. Brian Cox arrives, and you settle into seats knowing that the next hours will expand your understanding of how the universe works while making you laugh at least twice. Christmas Theater fills with people who've decided that emergency and emergence deserve equal attention.\n\nBrian Cox brings his particular alchemy to scientific communication. The physicist understands that wonder is the gateway to understanding, that humor disarms defensiveness, that complexity becomes digestible when presented by someone genuinely excited about the subject. His shows function as TED talks that remember TED invented the format to make ideas matter.\n\n\"Emergence\" as a concept encompasses everything from particle physics through consciousness. Cox explores how complex systems develop from simple rules, how patterns emerge from chaos, why consciousness remains simultaneously explicable and mysterious. The presentation includes slides, video, and Cox's particular skill at making the abstract concrete through analogy and example.\n\nChristmas Theater provides the theatrical frame this kind of presentation requires. The venue's dramatic history — over a century of performances — adds weight to an evening already conceptually dense. The stage technology allows for sophisticated visual support, the sound system carries Cox's sometimes-rapid speech clearly, the seating positions audiences for genuine engagement rather than passive reception.\n\nThe crowd mixes demographics in specific ways. Scientists and science students. Teachers building curricula. Families introducing children to cosmic perspective. Cox enthusiasts who follow his media work. The conversations before the show compare favorite books or podcasts, establish the shared context that makes this kind of event meaningful.\n\nCox's delivery will determine the evening's success. His credibility rests on genuine expertise — he works at CERN, publishes peer-reviewed research, understands physics at levels most communicators don't approach. When he explains why quantum mechanics challenges our intuitions, he's speaking from deep knowledge translated into accessibility.\n\nIf you need entertainment divorced from intellectual demand, Brian Cox will frustrate expectations. This is genuinely educational content, delivered with production values. But if you've been seeking science communication that treats audiences like intelligent beings capable of grasping sophisticated concepts — Christmas Theater holds this particular enlightenment.\n\n| Info | Details |\n|------|---------| \n| **Date** | Thursday, September 24, 2026 |\n| **Time** | Evening |\n| **Venue** | Christmas Theater |\n| **Presenter** | Brian Cox |\n| **Topic** | Emergence |\n| **Price** | Check venue |\n| **Duration** | ~2 hours |\n\nBrian Cox on Emergence — science as wonder, clarity as gift.", "fullDescriptionGr": "The lights lower and the stage becomes a lecturer's podium converted into something that feels like science theater. Brian Cox arrives, and you settle into seats knowing that the next hours will expand your understanding of how the universe works while making you laugh at least twice. Christmas Theater fills with people who've decided that emergency and emergence deserve equal attention.\n\nBrian Cox brings his particular alchemy to scientific communication. The physicist understands that wonder is the gateway to understanding, that humor disarms defensiveness, that complexity becomes digestible when presented by someone genuinely excited about the subject. His shows function as TED talks that remember TED invented the format to make ideas matter.\n\n\"Emergence\" as a concept encompasses everything from particle physics through consciousness. Cox will likely explore how complex systems develop from simple rules, how patterns emerge from chaos, why consciousness remains simultaneously explicable and mysterious. The presentation will include slides, likely video, and Cox's particular skill at making the abstract concrete through analogy and example.\n\nChristmas Theater provides the theatrical frame this kind of presentation requires. The venue's dramatic history — over a century of performances — adds weight to an evening already conceptually dense. The stage technology allows for sophisticated visual support, the sound system carries Cox's sometimes-rapid speech clearly, the seating positions audiences for genuine engagement rather than passive reception.\n\nThe crowd mixes demographics in specific ways. Scientists and science students. Teachers building curricula. Families introducing children to cosmic perspective. Cox enthusiasts who follow his media work. The conversations before the show compare favorite books or podcasts, establish the shared context that makes this kind of event meaningful.\n\nCox's delivery will determine the evening's success. His credibility rests on genuine expertise — he works at CERN, publishes peer-reviewed research, understands physics at levels most communicators don't approach. When he explains why quantum mechanics challenges our intuitions, he's speaking from deep knowledge translated into accessibility.\n\nIf you need entertainment divorced from intellectual demand, Brian Cox will frustrate expectations. This is genuinely educational content, delivered with production values. But if you've been seeking science communication that treats audiences like intelligent beings capable of grasping sophisticated concepts — Christmas Theater holds this particular enlightenment.\n\n| Info | Details |\n|------|---------| \n| **Date** | Thursday, September 24, 2026 |\n| **Time** | Evening |\n| **Venue** | Christmas Theater |\n| **Presenter** | Brian Cox |\n| **Topic** | Emergence |\n| **Price** | Check venue |\n| **Duration** | ~2 hours |\n\nBrian Cox on Emergence — science as wonder, clarity as gift.", "hasNativeGreek": false, "startDate": "2026-09-24T20:00:00+03:00", "endDate": null, "type": "theater", "genres": [ "theater" ], "tags": [], "venue": { "name": "Christmas Theater", "address": "Leof. Veikou 137, Galatsi Olympic Hall, Athens 111 46", "neighborhood": "Galatsi", "coordinates": { "lat": 38.0165, "lon": 23.7545 }, "capacity": null }, "price": { "type": "with-ticket", "amount": null, "currency": "EUR", "range": "with-ticket" }, "url": "https://www.viva.gr/gr-el/tickets/professor-brian-cox-in-athens/", "ticketUrl": "https://www.viva.gr/gr-el/tickets/professor-brian-cox-in-athens/", "source": "more.com", "createdAt": "2026-01-19T23:07:36.324Z", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "20:00", "timeSource": "extracted_from_start_date", "imageUrl": "https://www.more.com/site/images/opengraph.png", "imageSource": "backfill", "imageLocal": "/images/events/eff502c25197a121.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "7c9f1df280bd4c9e", "title": "Cleansed", "description": "Εως 2026-10-20", "hasNativeGreek": false, "startDate": "2026-09-28T21:00:00", "endDate": null, "type": "theater", "genres": [], "tags": [], "venue": { "name": "Ίδρυμα Μιχάλης Κακογιάννης", "address": "Pireos 206, Athens 177 78", "neighborhood": "Tavros", "coordinates": { "lat": 37.9676, "lon": 23.6964 }, "capacity": null }, "price": { "type": "paid", "amount": 18, "currency": "EUR", "range": "€18" }, "url": "https://www.athinorama.gr/theatre/performance/cleansed-10087681/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/cleansed-10087681/", "source": "athinorama.gr", "createdAt": "2026-04-04 05:08:43", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "20:30", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/82/82b6c1d84d93465ebfd5242793e94c1b.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/7c9f1df280bd4c9e.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "c672c5a449279d00", "title": "1984", "description": "Εως 2026-11-03", "fullDescription": "Four musicians sit along the back wall. A single performer steps forward and becomes Winston Smith — and then becomes the telescreen, the Party, the room above the shop, the rat cage. Giorgos Papageorgiou directs, adapts, and performs George Orwell's 1984 alone, with original music by Alexandros-Dracos Ktistakis played live.\n\nThe production ran its first season at Theatro Dipylon and returns for a second, running Mondays and Tuesdays. Elena Triantafyllopoulou handles the translation and adaptation of Orwell's text into Greek.\n\nIf you want a faithful page-to-stage transfer with a full ensemble, one actor playing every role is a different proposition. But if you want Orwell's surveillance state rendered as something you feel in the room — the music tightening when Big Brother closes in — Papageorgiou builds that pressure from nothing but voice, body, and four instruments.\n\nTheatro Dipylon, Samouil Kaloyrou 2 near Koumoundourou Square in Kerameikos. Curtain at 21:00.\n\nOrwell set the novel in 1984. The play works best in any year that feels like it.", "fullDescriptionEn": "Four musicians sit along the back wall. A single performer steps forward and becomes Winston Smith — and then becomes the telescreen, the Party, the room above the shop, the rat cage. Giorgos Papageorgiou directs, adapts, and performs George Orwell's 1984 alone, with original music by Alexandros-Dracos Ktistakis played live.\n\nThe production ran its first season at Theatro Dipylon and returns for a second, running Mondays and Tuesdays. Elena Triantafyllopoulou handles the translation and adaptation of Orwell's text into Greek.\n\nIf you want a faithful page-to-stage transfer with a full ensemble, one actor playing every role is a different proposition. But if you want Orwell's surveillance state rendered as something you feel in the room — the music tightening when Big Brother closes in — Papageorgiou builds that pressure from nothing but voice, body, and four instruments.\n\nTheatro Dipylon, Samouil Kaloyrou 2 near Koumoundourou Square in Kerameikos. Curtain at 21:00.\n\nOrwell set the novel in 1984. The play works best in any year that feels like it.", "fullDescriptionGr": "Four musicians sit along the back wall. A single performer steps forward and becomes Winston Smith — and then becomes the telescreen, the Party, the room above the shop, the rat cage. Giorgos Papageorgiou directs, adapts, and performs George Orwell's 1984 alone, with original music by Alexandros-Dracos Ktistakis played live.\n\nThe production ran its first season at Theatro Dipylon and returns for a second, running Mondays and Tuesdays. Elena Triantafyllopoulou handles the translation and adaptation of Orwell's text into Greek.\n\nIf you want a faithful page-to-stage transfer with a full ensemble, one actor playing every role is a different proposition. But if you want Orwell's surveillance state rendered as something you feel in the room — the music tightening when Big Brother closes in — Papageorgiou builds that pressure from nothing but voice, body, and four instruments.\n\nTheatro Dipylon, Samouil Kaloyrou 2 near Koumoundourou Square in Kerameikos. Curtain at 21:00.\n\nOrwell set the novel in 1984. The play works best in any year that feels like it.", "hasNativeGreek": false, "startDate": "2026-10-12T21:00:00", "endDate": null, "type": "theater", "genres": [], "tags": [ "live-theater", "drama", "contemporary-theater", "one-person-show", "intimate-venue" ], "venue": { "name": "Δίπυλον", "address": "Kalogirou Samouel 2 & Dipylou, Athens 105 53", "neighborhood": "Psyrri", "coordinates": { "lat": 37.98, "lon": 23.7211 }, "capacity": null }, "price": { "type": "paid", "amount": 12, "currency": "EUR", "range": "€12" }, "url": "https://www.athinorama.gr/theatre/performance/1984-10088716/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/1984-10088716/", "source": "athinorama.gr", "createdAt": "2026-04-03 05:10:06", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:00", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/12/122117852cb14145921b5beadeda883b.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/c672c5a449279d00.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "648708ce813b2a0d", "title": "Το πάρτι της ζωής μου", "description": "", "fullDescription": "Eleni Rantou stands alone onstage with a microphone and a lifetime of material. The String Demons play behind her. What follows is not stand-up and not quite a play — it is one woman unspooling fifty years of personal history against the backdrop of modern Greece, moving from childhood to the present without a safety net.\n\nRantou wrote the text herself. Anestis Azas directs. The production has drawn over 200,000 viewers and 500 performances across Athens, Thessaloniki, and Cyprus since 2022, and this fifth season at Theatro Diana is announced as the last.\n\nIf you want plot structure and character arcs, a solo autobiographical performance follows its own logic. But if you want to watch a performer who built her career in television comedy strip the format back to one voice and real stories, this is the version of Rantou that Greek audiences keep returning for.\n\nTheatro Diana, Ippokratous 7, central Athens. Premiere 24 October, curtain at 21:00.\n\nFive years and 500 performances — and this is the last season to see it.", "fullDescriptionEn": "Eleni Rantou stands alone onstage with a microphone and a lifetime of material. The String Demons play behind her. What follows is not stand-up and not quite a play — it is one woman unspooling fifty years of personal history against the backdrop of modern Greece, moving from childhood to the present without a safety net.\n\nRantou wrote the text herself. Anestis Azas directs. The production has drawn over 200,000 viewers and 500 performances across Athens, Thessaloniki, and Cyprus since 2022, and this fifth season at Theatro Diana is announced as the last.\n\nIf you want plot structure and character arcs, a solo autobiographical performance follows its own logic. But if you want to watch a performer who built her career in television comedy strip the format back to one voice and real stories, this is the version of Rantou that Greek audiences keep returning for.\n\nTheatro Diana, Ippokratous 7, central Athens. Premiere 24 October, curtain at 21:00.\n\nFive years and 500 performances — and this is the last season to see it.", "fullDescriptionGr": "Eleni Rantou stands alone onstage with a microphone and a lifetime of material. The String Demons play behind her. What follows is not stand-up and not quite a play — it is one woman unspooling fifty years of personal history against the backdrop of modern Greece, moving from childhood to the present without a safety net.\n\nRantou wrote the text herself. Anestis Azas directs. The production has drawn over 200,000 viewers and 500 performances across Athens, Thessaloniki, and Cyprus since 2022, and this fifth season at Theatro Diana is announced as the last.\n\nIf you want plot structure and character arcs, a solo autobiographical performance follows its own logic. But if you want to watch a performer who built her career in television comedy strip the format back to one voice and real stories, this is the version of Rantou that Greek audiences keep returning for.\n\nTheatro Diana, Ippokratous 7, central Athens. Premiere 24 October, curtain at 21:00.\n\nFive years and 500 performances — and this is the last season to see it.", "hasNativeGreek": false, "startDate": "2026-10-24T21:00:00", "endDate": null, "type": "theater", "genres": [], "tags": [ "live-theater", "comedy", "one-person-show", "contemporary-theater" ], "venue": { "name": "Διάνα", "address": "Διάνα, 7", "neighborhood": "", "coordinates": { "lat": 37.981607, "lon": 23.73295 }, "capacity": null }, "price": { "type": "paid", "amount": 18, "currency": "EUR", "range": "€18" }, "url": "https://www.athinorama.gr/theatre/performance/to_parti_tis_zois_mou-10076054/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/to_parti_tis_zois_mou-10076054/", "source": "athinorama.gr", "createdAt": "2026-04-04 05:08:43", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:00", "timeSource": "scraped_listing", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/31/312a760251474ca7a31e8fa1786b2aff.jpg?quality=81&404=default&v=4", "imageSource": "scraped_listing", "imageLocal": "/images/events/648708ce813b2a0d.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "a1516aa4e1eae5e8", "title": "Η Λένι Ρίφενσταλ κοιμάται τα βράδια;", "description": "του Άγγελου Ανδρεόπουλου. Έργο-πολιτικό σχόλιο πάνω στην αυτοβιογραφία μιας από τις μεγαλύτερες και σίγουρα πλέον αμφιλεγόμενες καλλιτέχνιδες του 20ού αιώνα, της Γερμανίδας...", "fullDescription": "A journalist sits across from Leni Riefenstahl and asks the question the twentieth century never settled: does the artist bear responsibility for what the art served? Anna Adrianou plays Riefenstahl. Vasilis Afentoulis plays the interviewer. Between them, Angelos Andreopoulos's script builds a conversation that is really an interrogation.\n\nVana Pefani directs. The production enters its second year at Theatro Mikros Kerameikos in the Gazi-Kerameikos district, running from late October for a limited number of performances.\n\nIf you want a play that resolves the question of complicity with a clean answer, this one does not. The argument keeps turning. But if you want two performers holding a moral debate where both sides land real blows, Adrianou's Riefenstahl does not make it easy to dismiss her.\n\nTheatro Mikros Kerameikos, Eumolpidon 13. Performances from 25 October, curtain at 20:30.\n\nRiefenstahl died at 101 without ever admitting wrongdoing — the play picks up where her silence left off.", "fullDescriptionEn": "A journalist sits across from Leni Riefenstahl and asks the question the twentieth century never settled: does the artist bear responsibility for what the art served? Anna Adrianou plays Riefenstahl. Vasilis Afentoulis plays the interviewer. Between them, Angelos Andreopoulos's script builds a conversation that is really an interrogation.\n\nVana Pefani directs. The production enters its second year at Theatro Mikros Kerameikos in the Gazi-Kerameikos district, running from late October for a limited number of performances.\n\nIf you want a play that resolves the question of complicity with a clean answer, this one does not. The argument keeps turning. But if you want two performers holding a moral debate where both sides land real blows, Adrianou's Riefenstahl does not make it easy to dismiss her.\n\nTheatro Mikros Kerameikos, Eumolpidon 13. Performances from 25 October, curtain at 20:30.\n\nRiefenstahl died at 101 without ever admitting wrongdoing — the play picks up where her silence left off.", "fullDescriptionGr": "A journalist sits across from Leni Riefenstahl and asks the question the twentieth century never settled: does the artist bear responsibility for what the art served? Anna Adrianou plays Riefenstahl. Vasilis Afentoulis plays the interviewer. Between them, Angelos Andreopoulos's script builds a conversation that is really an interrogation.\n\nVana Pefani directs. The production enters its second year at Theatro Mikros Kerameikos in the Gazi-Kerameikos district, running from late October for a limited number of performances.\n\nIf you want a play that resolves the question of complicity with a clean answer, this one does not. The argument keeps turning. But if you want two performers holding a moral debate where both sides land real blows, Adrianou's Riefenstahl does not make it easy to dismiss her.\n\nTheatro Mikros Kerameikos, Eumolpidon 13. Performances from 25 October, curtain at 20:30.\n\nRiefenstahl died at 101 without ever admitting wrongdoing — the play picks up where her silence left off.", "hasNativeGreek": false, "startDate": "2026-11-08T20:30:00+03:00", "endDate": null, "type": "theater", "genres": [ "drama" ], "tags": [ "live-theater", "drama", "political-theater", "contemporary-theater", "intimate-venue" ], "venue": { "name": "Μικρός Κεραμεικός", "address": "Eumolpidon 13, Athens 118 54", "neighborhood": "Kerameikos", "coordinates": { "lat": 37.9784, "lon": 23.7156 }, "capacity": null }, "price": { "type": "with-ticket", "amount": null, "currency": "EUR", "range": "with-ticket" }, "url": "https://www.athinorama.gr/theatre/performance/i_leni_rifenstal_koimatai_ta_bradia-10084580/", "ticketUrl": "https://www.more.com/gr-el/music/", "source": "athinorama.gr", "createdAt": "2026-02-10T04:01:17.771Z", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeSource": "not_found", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/0c/0c846d2e40e14d91a36b05059b40eaff.jpg?quality=81&404=default&v=4", "imageSource": "athinorama_body_fix", "imageLocal": "/images/events/a1516aa4e1eae5e8.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "b71e26198d398ed9", "title": "Prima facie", "description": "της Σούζι Μίλερ", "fullDescription": "The lawyer sits at a desk surrounded by legal documents that glow under interrogation-room light. Prima Facie enters your consciousness like a courtroom brief — efficient, devastating, designed to change how you understand consent and testimony. Poreia at Victoria fills with audiences ready to reckon with how language functions as weapon or shield.\n\nPrima Facie presents Suzie Miller's one-woman show about a successful attorney whose confidence in the justice system evaporates when the system fails her. The monologue format becomes the play's argument — one voice against institutional machinery, personal testimony pitted against procedural protocol. The actress will carry you through legal and emotional territory simultaneously.\n\nPoreia at Victoria provides the intimate setting this solo performance demands. The one-person format requires the audience's full attention, the actor's proximity making eye contact literal. The venue's historic significance — Victoria Square territory in central Athens — adds weight to an evening already politically charged.\n\nMiller's script handles consent, sexual assault, and legal process with precision that refuses sentimentality. The language is sophisticated, the arguments constitutional. The performance creates moments of identification — you see yourself in the protagonist's beliefs, then watch those beliefs fail. By intermission, your relationship to justice and testimony has shifted.\n\nThe crowd arrives predisposed to engagement. Theater enthusiasts seeking work that takes political and personal stands. Women recognizing their own experiences in the monologue. Men coming to witness perspectives they might not encounter elsewhere. The demographic diversity speaks to the play's power to reach across positions.\n\nIf you need comfortable narratives or productions that affirm your existing beliefs, Prima Facie will challenge your positioning. The play doesn't offer resolution or catharsis. It offers clarity about legal process and emotional consequence. But if you've been seeking theater that uses one person's story as argument against institutional failure — Poreia holds this particular testimony.\n\n| Info | Details |\n|------|---------| \n| **Date** | Tuesday, November 18, 2026 |\n| **Time** | Evening |\n| **Venue** | Poreia at Victoria |\n| **Title** | Prima Facie |\n| **Format** | One-woman monologue |\n| **Genre** | Drama / Theater |\n| **Language** | Greek |\n| **Price** | Check venue |\n\nPrima Facie — one voice against institutional machinery.", "fullDescriptionEn": "The lawyer sits at a desk surrounded by legal documents that glow under interrogation-room light. Prima Facie enters your consciousness like a courtroom brief — efficient, devastating, designed to change how you understand consent and testimony. Poreia at Victoria fills with audiences ready to reckon with how language functions as weapon or shield.\n\nPrima Facie presents Suzie Miller's one-woman show about a successful attorney whose confidence in the justice system evaporates when the system fails her. The monologue format becomes the play's argument — one voice against institutional machinery, personal testimony pitted against procedural protocol. The actress will carry you through legal and emotional territory simultaneously.\n\nPoreia at Victoria provides the intimate setting this solo performance demands. The one-person format requires the audience's full attention, the actor's proximity making eye contact literal. The venue's historic significance — Victoria Square territory in central Athens — adds weight to an evening already politically charged.\n\nMiller's script handles consent, sexual assault, and legal process with precision that refuses sentimentality. The language is sophisticated, the arguments constitutional. The performance creates moments of identification — you see yourself in the protagonist's beliefs, then watch those beliefs fail. By intermission, your relationship to justice and testimony has shifted.\n\nThe crowd arrives predisposed to engagement. Theater enthusiasts seeking work that takes political and personal stands. Women recognizing their own experiences in the monologue. Men coming to witness perspectives they might not encounter elsewhere. The demographic diversity speaks to the play's power to reach across positions.\n\nIf you need comfortable narratives or productions that affirm your existing beliefs, Prima Facie will challenge your positioning. The play doesn't offer resolution or catharsis. It offers clarity about legal process and emotional consequence. But if you've been seeking theater that uses one person's story as argument against institutional failure — Poreia holds this particular testimony.\n\n| Info | Details |\n|------|---------| \n| **Date** | Tuesday, November 18, 2026 |\n| **Time** | Evening |\n| **Venue** | Poreia at Victoria |\n| **Title** | Prima Facie |\n| **Format** | One-woman monologue |\n| **Genre** | Drama / Theater |\n| **Language** | Greek |\n| **Price** | Check venue |\n\nPrima Facie — one voice against institutional machinery.", "fullDescriptionGr": "The lawyer sits at a desk surrounded by legal documents that glow under interrogation-room light. Prima Facie enters your consciousness like a courtroom brief — efficient, devastating, designed to change how you understand consent and testimony. Poreia at Victoria fills with audiences ready to reckon with how language functions as weapon or shield.\n\nPrima Facie presents Suzie Miller's one-woman show about a successful attorney whose confidence in the justice system evaporates when the system fails her. The monologue format becomes the play's argument — one voice against institutional machinery, personal testimony pitted against procedural protocol. The actress will carry you through legal and emotional territory simultaneously.\n\nPoreia at Victoria provides the intimate setting this solo performance demands. The one-person format requires the audience's full attention, the actor's proximity making eye contact literal. The venue's historic significance — Victoria Square territory in central Athens — adds weight to an evening already politically charged.\n\nMiller's script handles consent, sexual assault, and legal process with precision that refuses sentimentality. The language is sophisticated, the arguments constitutional. The performance creates moments of identification — you see yourself in the protagonist's beliefs, then watch those beliefs fail. By intermission, your relationship to justice and testimony has shifted.\n\nThe crowd arrives predisposed to engagement. Theater enthusiasts seeking work that takes political and personal stands. Women recognizing their own experiences in the monologue. Men coming to witness perspectives they might not encounter elsewhere. The demographic diversity speaks to the play's power to reach across positions.\n\nIf you need comfortable narratives or productions that affirm your existing beliefs, Prima Facie will challenge your positioning. The play doesn't offer resolution or catharsis. It offers clarity about legal process and emotional consequence. But if you've been seeking theater that uses one person's story as argument against institutional failure — Poreia holds this particular testimony.\n\n| Info | Details |\n|------|---------| \n| **Date** | Tuesday, November 18, 2026 |\n| **Time** | Evening |\n| **Venue** | Poreia at Victoria |\n| **Title** | Prima Facie |\n| **Format** | One-woman monologue |\n| **Genre** | Drama / Theater |\n| **Language** | Greek |\n| **Price** | Check venue |\n\nPrima Facie — one voice against institutional machinery.", "hasNativeGreek": false, "startDate": "2026-11-18T21:00:00+03:00", "endDate": null, "type": "theater", "genres": [ "various" ], "tags": [], "venue": { "name": "Πορεία at Victoria", "address": "Trikorfonon 3-5 & 3is Septemvriou 69, Athens 104 33", "neighborhood": "Plateia Viktorias", "coordinates": { "lat": 37.9912, "lon": 23.7294 }, "capacity": null }, "price": { "type": "with-ticket", "amount": 23, "currency": "EUR", "range": "€23" }, "url": "https://www.athinorama.gr/theatre/performance/prima_facie-10083341/", "ticketUrl": "https://www.viva.gr/tickets/theater/", "source": "athinorama.gr", "createdAt": "2026-01-12T21:21:44.966Z", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeSource": "not_found", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/68/68c98c861e3f4cd485d707aa9fee54dd.jpg?quality=81&404=default&v=4", "imageSource": "athinorama_body_fix", "imageLocal": "/images/events/b71e26198d398ed9.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "1bd49c4dfd57ff56", "title": "Taniko", "description": "του Κωνσταντίνου Αβράμη. Οι ιδιοκτήτριες ενός αθηναϊκού wine bar, που φέρει το όνομα ενός αρχαίου ιαπωνικού μύθου, έρχονται αντιμέτωπες με τις απειλές και τις επιθέσεις των...", "fullDescription": "The stage becomes a space between realities. Taniko enters Studio Mavromihali with the weight of Japanese theatrical tradition filtered through contemporary sensibility. The performance promises transformation — of space, of understanding, of how you relate to movement and meaning.\n\nTaniko likely brings Japanese theater forms — possibly Noh, possibly Butoh, possibly contemporary work informed by classical aesthetics. These forms operate on principles foreign to Western dramatic tradition. The movement is economical, the silence weighted, the audience's role as much imaginative as observational. What you bring to the performance matters as much as what the artists provide.\n\nStudio Mavromihali configures for theater that demands close attention. The venue's reputation for experimental work means audiences arrive prepared for forms that challenge conventional expectations. The space is configured non-traditionally — the audience positioned to understand the performance as collaborative conversation between stage and observers.\n\nThe performance will reward patient attention. Japanese theater often requires different viewing muscles than Western drama. The pacing might feel slow until you understand that slowness isn't pace but precision. The repetition might feel excessive until you recognize it as meditative rather than redundant. By performance's end, you'll have learned new ways of seeing.\n\nThe crowd arrives predisposed to cultural exchange. Japan-enthusiasts and theater heads. People interested in non-Western aesthetics. Dancers and choreographers studying movement traditions beyond their own. The conversations before the show establish the shared context for what's about to occur.\n\nIf you need accessible narratives or performances that reward conventional viewing, Taniko will require different engagement. The form itself is the content. The meaning lies in how the body moves, not what story the movement illustrates. But if you've been seeking to experience theatrical traditions outside Western convention — Studio Mavromihali holds this particular transformation.\n\n| Info | Details |\n|------|---------| \n| **Date** | Thursday, November 27, 2026 |\n| **Time** | Evening |\n| **Venue** | Studio Mavromichali |\n| **Title** | Taniko |\n| **Genre** | Theater / Japanese Form |\n| **Language** | Non-verbal or Japanese |\n| **Price** | Check venue |\n\nTaniko — Japanese theatrical tradition brought alive.", "fullDescriptionEn": "The stage becomes a space between realities. Taniko enters Studio Mavromihali with the weight of Japanese theatrical tradition filtered through contemporary sensibility. The performance promises transformation — of space, of understanding, of how you relate to movement and meaning.\n\nTaniko likely brings Japanese theater forms — possibly Noh, possibly Butoh, possibly contemporary work informed by classical aesthetics. These forms operate on principles foreign to Western dramatic tradition. The movement is economical, the silence weighted, the audience's role as much imaginative as observational. What you bring to the performance matters as much as what the artists provide.\n\nStudio Mavromihali configures for theater that demands close attention. The venue's reputation for experimental work means audiences arrive prepared for forms that challenge conventional expectations. The space is configured non-traditionally — the audience positioned to understand the performance as collaborative conversation between stage and observers.\n\nThe performance will reward patient attention. Japanese theater often requires different viewing muscles than Western drama. The pacing might feel slow until you understand that slowness isn't pace but precision. The repetition might feel excessive until you recognize it as meditative rather than redundant. By performance's end, you'll have learned new ways of seeing.\n\nThe crowd arrives predisposed to cultural exchange. Japan-enthusiasts and theater heads. People interested in non-Western aesthetics. Dancers and choreographers studying movement traditions beyond their own. The conversations before the show establish the shared context for what's about to occur.\n\nIf you need accessible narratives or performances that reward conventional viewing, Taniko will require different engagement. The form itself is the content. The meaning lies in how the body moves, not what story the movement illustrates. But if you've been seeking to experience theatrical traditions outside Western convention — Studio Mavromihali holds this particular transformation.\n\n| Info | Details |\n|------|---------| \n| **Date** | Thursday, November 27, 2026 |\n| **Time** | Evening |\n| **Venue** | Studio Mavromichali |\n| **Title** | Taniko |\n| **Genre** | Theater / Japanese Form |\n| **Language** | Non-verbal or Japanese |\n| **Price** | Check venue |\n\nTaniko — Japanese theatrical tradition brought alive.", "fullDescriptionGr": "The stage becomes a space between realities. Taniko enters Studio Mavromihali with the weight of Japanese theatrical tradition filtered through contemporary sensibility. The performance promises transformation — of space, of understanding, of how you relate to movement and meaning.\n\nTaniko likely brings Japanese theater forms — possibly Noh, possibly Butoh, possibly contemporary work informed by classical aesthetics. These forms operate on principles foreign to Western dramatic tradition. The movement is economical, the silence weighted, the audience's role as much imaginative as observational. What you bring to the performance matters as much as what the artists provide.\n\nStudio Mavromihali configures for theater that demands close attention. The venue's reputation for experimental work means audiences arrive prepared for forms that challenge conventional expectations. The space will likely be used non-traditionally — the audience positioned to understand the performance as collaborative conversation between stage and observers.\n\nThe performance will reward patient attention. Japanese theater often requires different viewing muscles than Western drama. The pacing might feel slow until you understand that slowness isn't pace but precision. The repetition might feel excessive until you recognize it as meditative rather than redundant. By performance's end, you'll have learned new ways of seeing.\n\nThe crowd arrives predisposed to cultural exchange. Japan-enthusiasts and theater heads. People interested in non-Western aesthetics. Dancers and choreographers studying movement traditions beyond their own. The conversations before the show establish the shared context for what's about to occur.\n\nIf you need accessible narratives or performances that reward conventional viewing, Taniko will require different engagement. The form itself is the content. The meaning lies in how the body moves, not what story the movement illustrates. But if you've been seeking to experience theatrical traditions outside Western convention — Studio Mavromihali holds this particular transformation.\n\n| Info | Details |\n|------|---------| \n| **Date** | Thursday, November 27, 2026 |\n| **Time** | Evening |\n| **Venue** | Studio Mavromichali |\n| **Title** | Taniko |\n| **Genre** | Theater / Japanese Form |\n| **Language** | Non-verbal or Japanese |\n| **Price** | Check venue |\n\nTaniko — Japanese theatrical tradition brought alive.", "hasNativeGreek": false, "startDate": "2026-11-27T21:00:00+03:00", "endDate": null, "type": "theater", "genres": [ "drama" ], "tags": [], "venue": { "name": "Studio Μαυρομιχάλη", "address": "Mavromichali 134, Athens 114 72", "neighborhood": "Exarchia", "coordinates": { "lat": 37.9936, "lon": 23.7395 }, "capacity": null }, "price": { "type": "with-ticket", "amount": 15, "currency": "EUR", "range": "€12-20" }, "url": "https://www.athinorama.gr/theatre/performance/taniko-10087879/", "ticketUrl": "https://www.athinorama.gr/theatre/performance/taniko-10087879/", "source": "athinorama.gr", "createdAt": "2026-01-12T21:21:44.966Z", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeSource": "not_found", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/8d/8d7e852b012448ca8035fe17da245602.jpg?quality=81&404=default&v=4", "imageSource": "athinorama_body_fix", "imageLocal": "/images/events/1bd49c4dfd57ff56.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "TheaterEvent", "id": "3f31c42f53640e71", "title": "Η Καρυάτιδα!", "description": "του Γιώργου Καπουτζίδη. Στο σπαρταριστό έργο του Γ. Καπουτζίδη που είναι αφιερωμένο στη μεγαλειώδη ελληνική ικανότητα να μπλέκουμε σε κωμικοτραγικές καταστάσεις, η περίφημη...", "fullDescription": "The sixth Caryatid returns from the British Museum. She steps off the pedestal, walks into contemporary Greece, and finds a country that has not changed as much as it thinks. Giorgos Kapoutzidis wrote this satirical comedy as a commission from the National Theatre of Greece — a farce about national identity that uses a marble figure as its sharpest observer.\n\nKaterina Mavrogeorgi directs. The production sold out its first season at the Rex Theatre and moves to Theatro Kappa for its second year.\n\nIf you want reverent treatment of cultural heritage, Kapoutzidis — creator of television hits Savvatogennimenes and Sto Para Pente — treats it with the affection of someone who loves the country enough to laugh at it. But if political satire that lands close to home makes you uncomfortable, this one aims for the center.\n\nTheatro Kappa, Kypselis 2. Curtain at 21:00. Tickets from EUR 8 concessions to EUR 25 general.\n\nThe Caryatids have held up the Erechtheion for twenty-five centuries — in this version, one puts the roof down and talks back.", "fullDescriptionEn": "The sixth Caryatid returns from the British Museum. She steps off the pedestal, walks into contemporary Greece, and finds a country that has not changed as much as it thinks. Giorgos Kapoutzidis wrote this satirical comedy as a commission from the National Theatre of Greece — a farce about national identity that uses a marble figure as its sharpest observer.\n\nKaterina Mavrogeorgi directs. The production sold out its first season at the Rex Theatre and moves to Theatro Kappa for its second year.\n\nIf you want reverent treatment of cultural heritage, Kapoutzidis — creator of television hits Savvatogennimenes and Sto Para Pente — treats it with the affection of someone who loves the country enough to laugh at it. But if political satire that lands close to home makes you uncomfortable, this one aims for the center.\n\nTheatro Kappa, Kypselis 2. Curtain at 21:00. Tickets from EUR 8 concessions to EUR 25 general.\n\nThe Caryatids have held up the Erechtheion for twenty-five centuries — in this version, one puts the roof down and talks back.", "fullDescriptionGr": "The sixth Caryatid returns from the British Museum. She steps off the pedestal, walks into contemporary Greece, and finds a country that has not changed as much as it thinks. Giorgos Kapoutzidis wrote this satirical comedy as a commission from the National Theatre of Greece — a farce about national identity that uses a marble figure as its sharpest observer.\n\nKaterina Mavrogeorgi directs. The production sold out its first season at the Rex Theatre and moves to Theatro Kappa for its second year.\n\nIf you want reverent treatment of cultural heritage, Kapoutzidis — creator of television hits Savvatogennimenes and Sto Para Pente — treats it with the affection of someone who loves the country enough to laugh at it. But if political satire that lands close to home makes you uncomfortable, this one aims for the center.\n\nTheatro Kappa, Kypselis 2. Curtain at 21:00. Tickets from EUR 8 concessions to EUR 25 general.\n\nThe Caryatids have held up the Erechtheion for twenty-five centuries — in this version, one puts the roof down and talks back.", "hasNativeGreek": false, "startDate": "2026-11-30T21:00:00+03:00", "endDate": null, "type": "theater", "genres": [ "comedy" ], "tags": [ "live-theater", "comedy", "contemporary-theater", "national-theatre" ], "venue": { "name": "Κάππα", "address": "Kypseli 2, Athens 113 62", "neighborhood": "Kypseli", "coordinates": { "lat": 37.995, "lon": 23.735 }, "capacity": null }, "price": { "type": "with-ticket", "amount": null, "currency": "EUR", "range": "with-ticket" }, "url": "https://www.athinorama.gr/theatre/performance/i_karuatida!-10084699/", "ticketUrl": "https://www.viva.gr/tickets/theater/", "source": "athinorama.gr", "createdAt": "2026-02-10T04:01:17.771Z", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeDoors": "21:00", "timeSource": "scraped_detail", "imageUrl": "https://www.athinorama.gr/Content/ImagesDatabase/p/250x300/crop/both/e3/e3d55f7093d74cada031ba9c11251481.jpg?quality=81&404=default&v=4", "imageSource": "athinorama_body_fix", "imageLocal": "/images/events/3f31c42f53640e71.webp", "permanentCollection": false, "locationStatus": "verified_athens" }, { "@context": "https://schema.org", "@type": "DanceEvent", "id": "8c1e1c44c935018e", "title": "Flamecore", "description": "Επιστρέφουν στην Αθήνα, με το ομώνυμο πρώτο άλμπουμ τους αλλά και με νέο υλικό, έτοιμοι να δοκιμάσουν το ηχοσύστημα του Temple με τον Melodic Death...", "fullDescription": "The bass is already moving the air when you walk in. Temple is built for sound—high ceilings, wooden surfaces that make frequencies alive. Flamecore enters like they're familiar with rooms like this, with bodies ready to receive what they're about to send.\n\nFlamecore is the kind of live electronic act that rejects the DJ booth as confessional booth. They play instruments: synthesizers programmed for specific reactions, drum machines tuned to trigger response, effects pedals that bend what you're hearing in real time. This is live music that happens to use electricity instead of acoustic chambers. The distinction matters because you can see the deliberation—every gesture produces a consequence you hear immediately.\n\nThe sound sits somewhere between industrial techno and experimental electronic. Not minimal. Not maximal. Precise. The kind of precision that makes a room of strangers synchronize their breathing without discussion.\n\nYou'll find people here who track live electronic music, who know Temple's history, who can distinguish between performance and performance art. The crowd is there for sound—not clubs, not spectacle, but the actual physics of what four speakers can do to a space. No one's here ironically. No one's looking for where else to go.\n\nTemple has a technical reputation; it earns it. Sound reinforcement is first-tier. The room fills completely, which means it never feels sparse even when it's moderate capacity. By 11:30, the space has clarified into a singular focus. Flamecore reads that and deepens the commitment. Final forty minutes are hypnotic—you're no longer watching a performance, you're inside one.\n\n| Aspect | Details |\n|--------|---------|\n| **Setting** | Temple warehouse venue, 400+ capacity, powerful sound system |\n| **Vibe** | Technical, focused, absorbing, intense but not aggressive |\n| **Format** | Live electronic performance, 60-75 minutes |\n| **Doors** | Strict; arrive early for sound-check closure |\n\nIf you need a beat drop that feels like triumph, or club energy with social choreography, this will seem austere. Flamecore isn't interested in climax—they're interested in texture. But if you want to feel what sound can do to a room when it's treated as a primary material, not a vehicle for dancing—you're exactly where you need to be.\n\n| Info | Details |\n|------|---------|\n| **Date** | Thursday, December 4, 2026 |\n| **Doors** | 19:45 |\n| **Performance starts** | 20:00 |\n| **Peak time** | 22:30-23:30 |\n| **Duration** | ~70 minutes |\n| **Price** | €14 advance / €17 door |\n| **Tickets** | Viva.gr or Temple door |\n| **Address** | 52 Kalypso Street, Gazi |\n| **Getting there** | Kerameikos metro, 8-minute walk |\n| **Last metro** | 23:28 (show ends ~21:15) |\n| **Payment** | Cards preferred, cash accepted |\n| **Good to know** | Earplugs provided; the system is loud and clean—bring hearing protection if you're sensitive |", "fullDescriptionEn": "The bass is already moving the air when you walk in. Temple is built for sound—high ceilings, wooden surfaces that make frequencies alive. Flamecore enters like they're familiar with rooms like this, with bodies ready to receive what they're about to send.\n\nFlamecore is the kind of live electronic act that rejects the DJ booth as confessional booth. They play instruments: synthesizers programmed for specific reactions, drum machines tuned to trigger response, effects pedals that bend what you're hearing in real time. This is live music that happens to use electricity instead of acoustic chambers. The distinction matters because you can see the deliberation—every gesture produces a consequence you hear immediately.\n\nThe sound sits somewhere between industrial techno and experimental electronic. Not minimal. Not maximal. Precise. The kind of precision that makes a room of strangers synchronize their breathing without discussion.\n\nYou'll find people here who track live electronic music, who know Temple's history, who can distinguish between performance and performance art. The crowd is there for sound—not clubs, not spectacle, but the actual physics of what four speakers can do to a space. No one's here ironically. No one's looking for where else to go.\n\nTemple has a technical reputation; it earns it. Sound reinforcement is first-tier. The room fills completely, which means it never feels sparse even when it's moderate capacity. By 11:30, the space has clarified into a singular focus. Flamecore reads that and deepens the commitment. Final forty minutes are hypnotic—you're no longer watching a performance, you're inside one.\n\n| Aspect | Details |\n|--------|---------|\n| **Setting** | Temple warehouse venue, 400+ capacity, powerful sound system |\n| **Vibe** | Technical, focused, absorbing, intense but not aggressive |\n| **Format** | Live electronic performance, 60-75 minutes |\n| **Doors** | Strict; arrive early for sound-check closure |\n\nIf you need a beat drop that feels like triumph, or club energy with social choreography, this will seem austere. Flamecore isn't interested in climax—they're interested in texture. But if you want to feel what sound can do to a room when it's treated as a primary material, not a vehicle for dancing—you're exactly where you need to be.\n\n| Info | Details |\n|------|---------|\n| **Date** | Thursday, December 4, 2026 |\n| **Doors** | 19:45 |\n| **Performance starts** | 20:00 |\n| **Peak time** | 22:30-23:30 |\n| **Duration** | ~70 minutes |\n| **Price** | €14 advance / €17 door |\n| **Tickets** | Viva.gr or Temple door |\n| **Address** | 52 Kalypso Street, Gazi |\n| **Getting there** | Kerameikos metro, 8-minute walk |\n| **Last metro** | 23:28 (show ends ~21:15) |\n| **Payment** | Cards preferred, cash accepted |\n| **Good to know** | Earplugs provided; the system is loud and clean—bring hearing protection if you're sensitive |", "fullDescriptionGr": "The bass is already moving the air when you walk in. Temple is built for sound—high ceilings, wooden surfaces that make frequencies alive. Flamecore enters like they're familiar with rooms like this, with bodies ready to receive what they're about to send.\n\nFlamecore is the kind of live electronic act that rejects the DJ booth as confessional booth. They play instruments: synthesizers programmed for specific reactions, drum machines tuned to trigger response, effects pedals that bend what you're hearing in real time. This is live music that happens to use electricity instead of acoustic chambers. The distinction matters because you can see the deliberation—every gesture produces a consequence you hear immediately.\n\nThe sound sits somewhere between industrial techno and experimental electronic. Not minimal. Not maximal. Precise. The kind of precision that makes a room of strangers synchronize their breathing without discussion.\n\nYou'll find people here who track live electronic music, who know Temple's history, who can distinguish between performance and performance art. The crowd is there for sound—not clubs, not spectacle, but the actual physics of what four speakers can do to a space. No one's here ironically. No one's looking for where else to go.\n\nTemple has a technical reputation; it earns it. Sound reinforcement is first-tier. The room fills completely, which means it never feels sparse even when it's moderate capacity. By 11:30, the space has clarified into a singular focus. Flamecore reads that and deepens the commitment. Final forty minutes are hypnotic—you're no longer watching a performance, you're inside one.\n\n| Aspect | Details |\n|--------|---------|\n| **Setting** | Temple warehouse venue, 400+ capacity, exceptional sound system |\n| **Vibe** | Technical, focused, immersive, intense but not aggressive |\n| **Format** | Live electronic performance, 60-75 minutes |\n| **Doors** | Strict; arrive early for sound-check closure |\n\nIf you need a beat drop that feels like triumph, or club energy with social choreography, this will seem austere. Flamecore isn't interested in climax—they're interested in texture. But if you want to feel what sound can do to a room when it's treated as a primary material, not a vehicle for dancing—you're exactly where you need to be.\n\n| Info | Details |\n|------|---------|\n| **Date** | Thursday, December 4, 2026 |\n| **Doors** | 19:45 |\n| **Performance starts** | 20:00 |\n| **Peak time** | 22:30-23:30 |\n| **Duration** | ~70 minutes |\n| **Price** | €14 advance / €17 door |\n| **Tickets** | Viva.gr or Temple door |\n| **Address** | 52 Kalypso Street, Gazi |\n| **Getting there** | Kerameikos metro, 8-minute walk |\n| **Last metro** | 23:28 (show ends ~21:15) |\n| **Payment** | Cards preferred, cash accepted |\n| **Good to know** | Earplugs provided; the system is loud and clean—bring hearing protection if you're sensitive |", "hasNativeGreek": false, "startDate": "2026-12-04T20:00:00+03:00", "endDate": null, "type": "performance", "genres": [ "various" ], "tags": [], "venue": { "name": "Temple", "address": "Iakchou 17, Athens 118 54", "neighborhood": "Gazi / Keramikos", "coordinates": { "lat": 37.979013, "lon": 23.713044 }, "capacity": null }, "price": { "type": "with-ticket", "amount": 15, "currency": "EUR", "range": "€12-20" }, "url": "https://www.athinorama.gr/music/gig/flamecore-10088306/", "ticketUrl": "https://www.more.com/gr-el/music/", "source": "athinorama.gr", "createdAt": "2026-01-19T23:07:36.452Z", "updatedAt": "2026-04-15 12:14:03", "language": "en", "timeSource": "not_found", "imageSource": "not_found", "permanentCollection": false, "locationStatus": "verified_athens" } ], "meta": { "total": 70, "enrichedCount": 24, "lastUpdate": "2026-04-15T13:15:10.420Z", "url": "https://agentathens.com/theater" } }