Name: The invasion of the bees
Start: 2026-10-25T20:30:00
Location: Tribunetta Sala Strehler

Domenico Bravo

Claudia Campagnola

Antonio Presti

Shadi Romeo

Gabriele Circo

Andrea Baracco

Luca Brinchi

Teatro Biondo

A family gathers for Easter, but a swarm of bees threatens their peace. Conflict erupts, quickly devolving into unmanageable chaos, until the family decides to welcome the bees and establish a new balance.

The invasion of the bees

Tribunetta Sala Strehler

There are texts that stand the test of time, like stumbling blocks planted in the heart of the collective conscience. Vitaliano Brancati's The Governess is one of these. Written in 1952, buried by censorship for over a decade, it returns today with the cutting force of a work that still has much to say. Brancati delivers a drama that delves into the undercurrents of respectability, the silences of imposed morality, and guilt as an instrument of social control. He does so with a seemingly classical theatrical structure, in which small incidents and major misunderstandings—in the manner of Chekhov—are transformed into emotional detonators. But behind the sober form lies a fiery substance.

The housekeeper

Teatro Biondo Stabile

Claudio Tolcachir and Cristiana Morganti have come together to write and bring to life a story that begins with autobiographical reflections and insights, but is also inspired by the stories of classical theater characters, archetypes of the female condition within the family and society.

The forest

Lina Prosa returns to the myth of Penthesilea with a new script, entrusting the direction to Massimo Verdastro, with whom she has shared an "artistic-human" partnership for over forty years.

Penthesilea

Written in 1974,  Il pozzo dei pazzi  is Franco Scaldati's most famous and dazzling work: a ferocious and heartbreaking score in which two derelicts, Aspano and Benedetto, fight for survival while fighting over a stolen hen, suspended between the crude realism of the street and the Orphic and surreal dimension typical of the great Palermo playwright.

The Fool's Pit or Never Again

After the war, a family of vavaluci (snails, in the Palermitan dialect)—mother, father, children, uncles, grandparents—decides to take a trip to Mount Pellegrino, a sacred mountain for the people of Palermo, where they can also thank Saint Rosalia for having protected them.

Go go lights

Teatro Montevergini

The invisible inn is an imaginary place, the ruins of a bombed-out house, the rubble of which can still be found among the alleys and squares of Palermo. But its appearance also mirrors that of the gutted houses we see daily in war chronicles that seem from another era. It is the symbolic place of a human condition in an eternal struggle for survival, inhabited by an infinite variety of characters and shadows, projections and embodiments of the Poet's dreams, of the "presences" he sees and senses around him. Each of them has a story to tell: desires, fears, doubts, contradictions, certainties that attract us, amuse us, and astound us. Stories that seem fantastic and imaginative to us and that gradually or suddenly become a mirror of the reality around us, stories imbued with a humanity that makes them feel close to us, ours, universal.

The Invisible Inn

Polish writer and playwright Slawomir Mrożek wrote Emigrants in 1974 during his exile in France, reflecting with acuity and irony on the condition of estrangement and alienation of those forced to live in a foreign country.

Emigrants

Great art is often ambiguous. Shakespeare always is. Just as in The Merchant of Venice he appears to be writing an anti-Semitic text, yet places in Shylock's mouth one of the most illustrious passages defending the dignity of the Jewish people, so in Othello he composes a dramatic structure that sees the Moor as the perpetrator of a horrible crime, but gradually reveals that the true demonic being is the white Iago.

Othello

The protagonist of The Overcoat is Akaky Akakievich, a meek employee bullied by his colleagues, mocked by his superiors, and excluded from Petersburg's social life. He is so poor that he has to save for an entire year to afford a new overcoat. When he finally manages to do so and puts it on, it becomes a priceless possession for him. However, his happiness lasts only a day: invited to a co-workers' party to toast their new acquisition, on the way home he is attacked and robbed of his precious garment. The police treat him roughly, and even a collection among his colleagues is unsuccessful, and after a few days Akaky Akakievich dies of despair and cold.

The coat

This Mandrake is transposed into a present dominated by finance, profit, and appearance. Machiavelli's Renaissance Florence becomes the Global City, a glass and steel skyscraper where everything is transparent. The characters act not out of love or faith, but out of desire, convenience, and opportunism. The comedy thus becomes a scathing satire of contemporary capitalism, where every relationship is a transaction. The action takes place inside a corporate skyscraper. The set is minimal and modular: transparent panels, neon lights, screens with financial charts and breaking news. All around, the city looms: a vertical, competitive, dehumanized world. Callimaco is a young, ambitious manager, brilliant, seductive, devoid of any morals. Deception is not a means, but a professional skill. Messer Nicia is an elderly CEO obsessed with legacy and reputation; he doesn't understand the changing world, but is willing to do anything to leave a "successor." It's both ridiculous and tragic, a symbol of empty power. Lucrezia is an intelligent woman, trapped in a marriage of convenience and a system that demands her to be "perfect." Her final surrender isn't weakness, but a clear choice for survival and power. Fra Timoteo becomes an ethics consultant, a spiritual media leader who uses the language of morality to justify any action. He's the most dangerous figure because he legitimizes cynicism with reassuring words. Meanwhile, Ligurio is easy to imagine as a fixer, lobbyist, or business intermediary. He's the true driving force behind the action: he understands how the mechanisms of power work and exploits them without ever exposing himself, the perfect embodiment of the end justifying the means. Power as manipulation, morality as a rhetorical tool, the body and desire as commodities, the victory of amoral intelligence.

The Mandrake

In Vigata, the name of a mysterious agitator is circulating: Michele Sparacino. It is he, it is said, who incited the sulfur mine workers and sparked a general strike that spread throughout the city, uniting bakers and street cleaners, teachers and office workers. In reality, Michele Sparacino was born from the imagination of Liborio Sparuto, a lazy and lying journalist who, to explain to his readers the events shocking Vigata, completely invented the figure of a dangerous subversive.