EPIDAURUS, Greece (AP) — Christopher Nolan’s film ‘The Odyssey’ has sparked renewed global interest in Homer’s works. In parallel, a unique theatrical performance in Greece is shedding light on another narrative from that era. Instead of focusing on the triumphant return of heroes, the cast of disabled and non-disabled performers presents ‘The Trojan Women’, highlighting the suffering left in the wake of war.
Staged at the ancient stone arena of Epidaurus in southern Greece, ‘The Trojan Women’ involved a cast of 22. This performance marked a significant milestone, being touted as the first fully accessible production in the 2,300-year history of the theater.
While Homer famously chronicled the warriors’ journeys home from Troy, Euripides, writing three centuries later, turned his attention to the city’s devastated women, who faced exile and enslavement. The August 2 performance at Epidaurus ensured a range of accessibility services. Blind audience members received Braille programs, tactile models, and live audio descriptions, while deaf spectators were assisted with overhead titles. Physical adaptations were implemented to improve access across the theater.
Greg Polychronidis, a Paralympic gold medalist who attended the event, remarked, ‘It’s the first time a performance at Ancient Epidaurus has been made accessible to everyone. Today was a celebration of equality and it should serve as an example for everyone, forever.’
For many performers, gracing the ancient stage conveyed a powerful message as a voice for those often overlooked. Eirini Kourouvani, a 58-year-old performer using a wheelchair, expressed her emotions standing on the historic stage for the first time, stating, ‘It is just grand. I feel my heart opening up as wide as this theater is.’
Among the attendees was Ioanna-Maria Gertsou, a blind psychologist, accompanied by her guide dog, Babu. She noted, ‘We too have the right to attend performances on an equal footing,’ appreciating that her dog remained quiet during the play.
The National Theater of Greece produced this inclusive performance with accessibility services planned by the nonprofit Liminal. Financial backing came from Greece’s Alpha Bank. Argyro Chioti, the artistic director of the National Theater, argued that such productions should become standard. ‘This was complex, not simple. It required months of planning. It cost money. And it required very specific organizational expertise,’ she said. ‘But that’s the standard and venues we need to reach — the major stages and the major theaters.’
— Gatopoulos reported from Athens.