Epidaurus Hosts Groundbreaking Accessible Performance of ‘The Trojan Women’

In the ancient theater of Epidaurus, southern Greece, a novel performance paid tribute not to triumphant heroes but to the poignant tale of those left behind—the women of Troy. A cast comprising both disabled and non-disabled performers staged ‘The Trojan Women,’ a play by Euripides that focuses on the grief of women forced into exile and enslavement after the city’s fall.

This performance was unique. It marked the first time in the theater’s 2,300-year history that a show was fully accessible, providing an inclusive experience for all spectators. Blind audience members benefited from Braille programs, tactile models, and live audio descriptions. Deaf guests were able to follow the story through overhead titles, while the site itself had improvements to facilitate better access.

Greg Polychronidis, a Paralympic gold medalist in attendance, emphasized the event as a landmark in equality. “It’s the first time a performance at Ancient Epidaurus has been made accessible to everyone,” he stated, underscoring the day as a “celebration of equality” that should inspire lasting change.

For many of the performers and spectators, the event was deeply symbolic. Eirini Kourouvani, a 58-year-old actress using a wheelchair, expressed the profound impact of the experience. “I feel my heart opening up as wide as this theater is,” she shared, stepping onto the storied stage for the first time.

Ioanna-Maria Gertsou, a blind psychologist, attended with her guide dog, Babu. Reflecting on the experience, she emphasized the importance of equal access to cultural events. “We too have the right to attend performances on an equal footing,” Gertsou said, noting her relief that Babu remained quiet throughout the play.

The National Theater of Greece, in collaboration with the nonprofit Liminal and financial support from Alpha Bank, produced the performance. Argyro Chioti, artistic director at the National Theater, expressed ambition for this level of accessibility to become standard. “This was complex, not simple. It required months of planning. It cost money. And it required very specific organizational expertise,” she noted, advocating for similar standards across major stages and theaters.