Sabina Berman is one of Mexico’s most ubiquitous and influential public figures. Widely regarded as the most talented and successful playwright in Mexico, she is known not only for her uncanny ability to combine humor and biting socio-political critique, but also for her habit of adapting or borrowing from the dramatic, narrative, poetic, and historical works of others. Taking into account the theories of Darwin (1859) along with those proposed by adaptation studies scholars such as Linda Hutcheon (2006), Julie Sanders (2006), Thomas Leitch (2023), and Julie Grossman (2015), this study focuses on Berman’s adaptation of three non-domestic dramatic texts—Der Reigen by Arthur Schnitzler (1900), Stones in His Pockets by Marie Jones (2001), and Puppetry of the Penis by Simon Morley (2010)—as well as adaptations of her own texts. Repeated adaptations of El gordo, la pájara y el narco [The Fat Man, the Chick, and the Narco] and El narco negocia con Dios [The Narco Does Business with God], for example, reflect her understanding that theatrical works, much like living organisms, need to adapt to cultural and political changes and to their host—the audience—if they are to survive the passing of time.