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A highly versatile playwright, Eduardo Galán writes comedies and socially charged plays, while also adapting the classics.  He was a professor of Spanish Language and Literature at the Instituto Beatriz Galindo and is finishing his first novel.

From 1996 to 2000 he was the Spanish Ministry of Education and Culture’s Deputy Director General for Theatre. 
Since 2016 he is director of the executive committee of SGAE (the Spanish intellectual property rights management society).
Since 2018 he is also a member of the Board of Management of the Spanish Academy of Performing Arts, and he is Secretary General of the Association of Producers and Theatres of Madrid (APTEM).

In 2004 he founded his own production company, Secuencia 3 (

His adaptation of Tristana was premiered in February 2017. The play is based on the eponymous novel by Benito Pérez Galdós, made into a film directed by Luis Buñuel in 1970, with Catherine Deneuve as Tristana.

Others of his adaptations for contemporary Spanish audiences include Jean Racine’s Alexandre le Grand, a hit at the 2016 edition of the Mérida Festival, Tennessee Williams’s The Glass Menagerie, which premiered at Madrid’s Teatro Fernán Goméz, likewise in 2016,  Amphitryon by Plautus, Fantôme de l’Opéra, Lope de Vega’s El Caballero de Olmedo and La Celestina. He has also written plays for children, adapting stories and fairy tales, such as The Jungle Book and Cinderella

He has authored the plays La mujer que se parecía a Marilyn, La posada del Arenal, La sombra del poder, Anónima sentencia, La curva de la felicidad, Felices 30, Hombres de 40, and Los diablillos rojos.

Eduardo Galán has also written: Última edición, Maniobras, Mujeres frente al espejo  and Historia de 2..

In July 2008, his play Nerón was successfully performed at the Mérida Festival. Neron is currently touring Spain.

His adaptation of Oscar Wilde’s novel An ideal husband, will be performed soon.




As Rome perishes in flames Nero entertains fantasies about his own immortality as a god. Master of the fate of his people, he assures their loyalty with his ‘bread and circus’ policy, even participating in plays as lead actor and in poetry recitals and music competitions. He is forced to accept the emperor’s crown by his mother Agrippina, whom he ultimately kills, but not even that frees him of her presence. The triumphant arrival of General Marcus Vinicius in the wake of his successful campaign in Brittany triggers a series of political and amorous conflicts in the Roman court. The sexual freedom of the pagan courtesans contrasts with the new ideas defended by the Christians, blamed by Nero for the fire. Those events, added to Nero’s unfathomable cruelty, serial killings and tyrannical government, drive the senate to plot to dethrone him.

Our Nero is a historic drama full of power and passion narrated with a modern structure (several flashbacks and scenes staged simultaneously in places as varied as the palace, the Roman theatre in Naples or the catacombs).

The story line takes its inspiration from Henryk Sienkiewicz’s famous novel Quo vadis?, as well as from writings by Petronius (Nero’s adviser sentenced to death for conspiring against him) and the Roman historian Suetonius.

Theatre goers may be reminded of the darly nineteen fifties film starring Robert Taylor, Peter Ustinov and Deborah Kerr. The play is studded with historical and fictitious characters, including Petronius, Marcus Vinicius, Agrippina, St Paul, Ligia, Poppaea, Tigelinus and Sporus.



TRISTANA (adaptation of the eponymous novel by Benito Pérez Galdós)

When Tristana’s mother dies, this 21-year-old orphan is taken in by a friend of the family, don Lope, a 58-year-old don Juan on the downhill, who becomes her guardian and seducer.

After her seduction, the young protagonist rebels against don Lope and soon meets and falls in love with Horacio, a painter unable to accept her feminist streak. Their relationship wanes when he leaves Madrid for a long stay abroad (although Tristana continues to idealise her lover). In the interim, she contracts a disease that involves amputating one of her legs to save her life.

Horacio comes to visit her more out of pity than affection and promptly disappears. With nothing left of their romance, Tristana finds herself bound once more to don Lope.

The painter eventually marries another woman and Tristana trades in her dreams of being an actress or pianist for a sterile, dreary life with God as her sole ‘object of desire’, while don Lope falls deeper and deeper into physical and financial ruin. With the bequest of land from a relative, contingent upon their putting an end to their scandalous relationship, the protagonists ironically end up in a marriage of convenience.


Promotional video:



HISTORIA DE 2 (History of 2)

Historia de 2 is an amusing love story between a secondary school teacher and a pupil’s mother, who meet on the occasion of parent-teacher interviews. Lola and Ortiz have only one thing in common: educating Dani, a teenager struggling through a troubled adolescence.

Lola is a spunky supermarket cashier with a sweet personality and little formal schooling anxious to help her son find his way. Ortiz, a teacher looking forward to early retirement, is tired of trying to improve an education system he no longer understands. 

As in Pygmalion or My Fair Lady and with traces of To Sir, with Love, this ‘impossible’, humorously depicted relationship progresses throughout the school year during parent-teacher meetings, ultimately blossoming into a full-blown romance in the midst of a deeply human conflict at the school

Performed in Spain and: Puerto Rico, Portugal, Estonia



In the wake of the readership crisis that has meant a drastic decline in newspaper sales, El Universal undertakes mass newsroom layoffs. 

The paper’s board of directors nonetheless hires Minerva, a brilliant young writer, to help modernise the online edition and capitalise on her expertise to relaunch the daily. 

Minerva is received with misgivings by Paloma, the editor-in-chief for the last 30 years, and Fuentes, an old friend of Paloma’s and one of the paper’s photographers and journalists. 

News breaking against this backdrop might prompt some investigative reporting that would place the paper at the core of the story: a scandal involving several political parties in connection with possible corruption around the construction of a fantastic ‘city for oceanography and the arts’ in the Gredos Mountains (Spanish province of Ávila, near Madrid). 

Written as a thriller, with a touch of light-hearted humour, it ends almost like a game of small-time scoundrels. 


MUJERES FRENTE AL ESPEJO (Women looking in a mirror)

A misunderstanding leads to a surprising encounter between a novelist and a young actress. Raquel, a successful novelist, has just received an advance on the royalties for her next novel. In the grips of anxiety, she is unable to write a single line. She decides to call a ‘gigolo’ to her home to build on the experience as inspiration for her novel. At the same time, Alicia accepts her agent’s challenge to an audition dressed as a man for a part meant for a male actor able to interpret a woman’s role as well. Fate brings Alicia to Raquel’s home, the former believing that Raquel is the director of the play and the latter that Alicia is a slightly effeminate gigolo. The misunderstanding gives rise to a frantic change in roles and in who has the upper hand. The frustration and solitude of large cities appear to co-exist on the stage with these two women seething with passion for life.

Performed in Spain, Puerto Rico, Portugal, Miami, Venezuela, Argentina, Portugal

To be performed in Greece from October 2017 to May 2018
Greek Version from Anastasia Golema
Theatre Avaton

MANIOBRAS (Manoeuvres)

Maniobras is a harsh, cruel, gripping, true story of bullying, sex and violence. It revolves around two of the characters, Belén and David, a happy, easy-going couple whose dream is to build a future together. The harshest of realities is to befall them, however.

The abuse of power is reflected in two very distinct worlds: the armed forces and the theatre, attesting to the possible emergence in any workplace of violence- and sex-mediated bullying and the attendant humiliation for its victims.

The text was inspired by a true story published in the media on a trial for sexual harassment in a military setting. Starting from there, the narratives that play out in the two worlds merge. Both young people are victims of abuse, but the difference in their response destroys their relationship and pushes the protagonist, Belén, into total collapse.

Performed in Spain and Greece: Theater 104 in Athens (April to June 2017)

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Theatre 104 Gazi, Athens

April-June 2017