He is considered one of the most prestigious and popular men of culture and artists on the Italian stage. His musical theater, inspired by the Yiddish culture that he has contributed to to making known and of which he has given a contemporary reading, is unique in Italy and Europe. Known for his constant political and civil commitment to support of rights and peace, he is a reference point for the younger generations. Ovadia began his actual theatrical activity in 1984, collaborating with such leading figures as Pier'Alli, Bolek Polivka, Tadeusz Kantor, Giorgio Marini and Franco Parenti. In 1987 he creates with Mara Cantoni, Dalla sabbia e dal tempo at the Festival of Jewish Culture: it is an opportunity to merge his own experiences as actor and musician, giving life to the proposal of a "musical theater" in which still today opera his expressive research. In 1990 he founded TheaterOrchestra and staged Golem, presented to Milan, Rome, Berlin, Paris, New York. In 1993 he came to the attention of the general public with Oylem Goylem, a creation of musical theater in the form of cabaret, hailed by critics and audiences. In 1994 he began an artistic partnership with Roberto Andò with whom he staged Frammenti sull'Apocalisse,_ Diario ironico dall'esilio_ (1995), Il caso Kafka (1997), Le storie del signor Keuner (2006-2007), Shylock, il Mercante di Venezia in prova (2009). Still from the collaboration with Mascia Cantoni come_ Dybbuk_ (1995), a play about the Holocaust, welcomed as one of the main events of the season, and Ballata di fine millennio (1996, with the Piccolo Teatro di Milano). From 1998 is_ Mame, mamele, mamma, mamà_ with the TheaterOrchestra. Other performances in the 2000s include Konarmjia: The Army to horse from Isaac Babel''s text (2003); ); The Beautiful Utopia and Now Odessa, again from Babel' (2013); Welcome to the Ghetto, conceived for the 70th anniversary of the Warsaw Ghetto Uprising (2013); Aeschylus' The Supplices at the Greek Theater in Syracuse (2015).

A theater director and author, he graduated in directing from the "Silvio d'Amico" National Academy of Dramatic Art. He has worked in theater since 1981 and is currently director of the Teatro Stabile di Catania. Among his more than forty directing credits are: for the Borgese Prize he writes and directs Massimo Foschi and Mariella Lo Giudice in Per un ritratto dello scrittore, on texts by Sciascia and Borgese; Spiritus Mundi, opera set to music by Maurizio Squillante for the XXXIX Festival dei Due Mondi of Spoleto, under the artistic direction of Gian Carlo Menotti;_ La recitazione della controversia liparitana_ by Leonardo Sciascia; for the Teatro Stabile di Catania Sinfonie d'amore by Giuseppe Fava;_ Il magnifico cornuto_, by Fernand Crommelynck; La Cattura by Pirandello, Camilleri, Dipasquale with Turi Ferro; Orestea in translation by Pier Paolo Pasolini; for Teatro Eliseo in Rome Il negozio all'angolo, musical by Bock, Masteroff, Harnick, with Paolo Ferrari; for the Teatro Stabile di Catania, Il birraio di Preston, from the novel by Andrea Camilleri; Don Giovanni in Sicilia by Vitaliano Brancati, with Mariano Rigillo; I Beati Paoli with Giulio Brogi and Pippo Pattavina; Troppu trafficu ppi nenti by to. Camilleri, G. Dipasquale, a remake of William Shakespeare's Molto rumore per nulla; Il berretto to sonagli by Luigi Pirandello with Pino Caruso; Cannibardo e la Sicilia by Andrea Camilleri with Massimo Ghini, which debuts at Festival dei Due Mondi in Spoleto directed from Giorgio Ferrara; I Giganti della montagna by Luigi Pirandello with Vincenzo Pirrotta and Magda Mercatali; and again Arthur Miller's Erano tutti miei figli, with Mariano Rigillo and Anna Teresa Rossini; Anton Cecov's The Cherry Orchard, with Magda Mercatali; William Shakespeare's King Lear, with Mariano Rigillo and Sebastiano Tringali;_ Shakespeare's The Tempest_ for the Gdansk International Shakespeare Festival (2006).

An actress from Catania, she trained at the Teatro Stabile di Catania, beginning her career at a very young age. She grew up on stage to alongside Ida Carrara, Giulio Brogi, Mariano Rigillo, Pippo Pattavina, Mariella Lo Giudice, Guia Ielo, Tuccio Musumeci, Marcello Perracchio, and Gilberto Idonea. In 2004, for the same Catania institution, she played the Pupil in E. Ionesco's The Lesson and Agnes in Molière's The School of Wives. She recites texts by contemporary authors such as Andrea Camilleri-The Brewer of Preston, The Telephone Concession and Troppu trafficu ppi nenti-shows performed in Italy and Europe. from that moment she begins a fervent theatrical activity with national productions that see her engaged in long tours gaining success in prestigious Italian theaters. She works with directors such as Walter Pagliaro, Maurizio Scaparro, Armando Pugliese, Giuseppe Dipasquale, Fabio Grossi, Claudio Di Palma, Vincenzo Pirrotta, Geppy Gleijeses, and Alfredo Ariàs. 2013 sees her on national tour to alongside Leo Gullotta in the role of Titania in W. Shakespeare's A Midsummer Night's Dream and in Molière's The Miser as Marianne, with Lello Arena. Among her best-known performances are that of Iana in La Governante directed by M. Scaparro; Gwendalin in L'importanza di chiamarsi Ernesto directed by G. Gleijeses and Anna in _Se' Nummari _by Totò Rizzo, directed by Vincenzo Pirrotta; shows all performed on national tours. She is currently engaged in the tour of Il Bugiardo by C. Goldoni to alongside Andrea Giordana, G. Gleijeses and Marianella Bargilli, and in Casa di bambola by H. Ibsen directed by Maurizio Scaparro, in the role of Nora.