As global interest in Homer's epic "The Odyssey" is renewed, a Greek theater production is presenting a different perspective on the Trojan War, focusing on the suffering left behind.
"The Trojan Women," performed by a cast of 22 disabled and non-disabled actors at the ancient Epidaurus theater in Greece, explored the war's impact on those left in its wake. This production marked what organizers described as the first fully accessible performance in the 2,300-year history of the venue.
While Homer's epic follows warriors' journeys home, playwright Euripides, writing centuries later, focused on the women of Troy facing exile and enslavement amidst the city's ruins. The Aug. 2 performance provided comprehensive accessibility services, including Braille programs, tactile models, and live audio description for blind audience members, and overhead titles for the deaf. Physical accommodations were also made throughout the historic site.
"It's the first time a performance at Ancient Epidaurus has been made accessible to everyone," said Greg Polychronidis, a Paralympic gold medalist who attended the event. "Today was a celebration of equality and it should serve as an example for everyone, forever."
For many performers, appearing on the ancient stage was a significant act. Eirini Kourouvani, a 58-year-old cast member who uses a wheelchair, shared her experience of entering the theater for the first time. "It is just grand," she said. "I feel my heart opening up as wide as this theater is."
Ioanna-Maria Gertsou, a blind psychologist attending with her guide dog, emphasized the importance of equal access. "We too have the right to attend performances on an equal footing," she stated.
The National Theater of Greece produced the play, with accessibility services developed by the nonprofit Liminal and supported financially by Greece's Alpha Bank. Argyro Chioti, artistic director of the National Theater, expressed that such accessibility should become standard practice. "This was complex, not simple. It required months of planning. It cost money. And it required very specific organizational expertise," Chioti said. "But that's the standard and venues we need to reach — the major stages and the major theaters."