Updating Greek myths and tinkering with texts is a finicky process; how to maintain the spirit of the original while providing an audience with something new? Yet this new production from writer Georgina Thomas largely manages to stand firm under this pressure, insidiously intriguing from start to finish.
The Trojan Women mostly follows the story of Euripides’ original tragedy (going a bit beyond its end), which deals with the surviving female aristocracy of Troy after the end of the Trojan War. In Thomas’ new adaptation, we are introduced to the women of Troy in a setting evoking 1950s post-war Britain, as the conquering Achaeans divulge their plans on how they intend to split the spoils of victory.
Troy has been transformed from city-state into a corporation; the Trojan horse has not been wheeled through the gates but has instead infiltrated the Trojan ‘factories’. Initially this concerned me. With the original…
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