On March 20th Ferai Teatro returns to New York, on the main stage of Dixon Place in Manhattan.
After its sold-out debut on July 9, 2025, filled with the tension that only New York knows how to impose , the company returns to the stage with “You Don't Fuck Fascists,” translated into English for the occasion.
A clear choice, which doesn't soften the message but rather exposes it to a different, demanding audience, disinclined to benevolence. New York, as we know, doesn't give anything away. But it knows how to recognize honest work.
A few months later, in the first week of June , the journey continues in the opposite direction, towards Milan and its Fringe Festival. Here, Diva arrives (better to hell in heels than to heaven in ballet flats), after passing through Cagliari, Alghero, and an English version presented in New York last summer.
Two cities far apart in history, audience, and imagination. Yet at their core, the same figure remains: Greta Sofia.
Greta Sofia isn't a reassuring character. She's a stage creature born of necessity. A crooked diva, a blasphemous saint, a stand-up comedian with a tragic soul. Her Catholic upbringing and desire, political rage and a love of the ridiculous, the sacred and the profane, coexist, often colliding in the same joke. She's the place where theater stops explaining and begins laughing, thus managing to have a deeper impact.
Behind Greta Sofia there is a playwright and director who has been working with Ferai Teatro for almost twenty years on education, civil rights, childhood and the queer community .
A theater that enters schools, suburbs, and contexts where art gets its hands dirty and isn't always welcomed with enthusiasm.
Greta Sofia represents a mature response to that process: neither pedagogical nor conciliatory . Political because it's personal, comical because it's desperate. It works precisely because it doesn't try to be funny.
On stage, Greta Sofia says and does what her author, alone, couldn't. Or rather: she says it higher up, in high heels, where her balance is unstable but her view is better .
He's a figure who claims the right to excess, inadequacy, and contradiction. And in this, he fits perfectly into a cultural current that seems to fear both conflict and irony.
Returning to New York and arriving in Milan with these shows isn't a trophy to show off. It's a responsibility. It means knowing exactly what you're putting on stage and accepting that not everyone will like it. Indeed, that it shouldn't please everyone.
The state of mind that accompanies this double crossing is one of gratitude without devotion, enthusiasm without naivety.
