Collaborative theater (that is to say, theater that starts with no concrete script and relies upon a slew of people creating from the ground up) can be such a mess. The reality behind such free-form movement of ideas is often that no one is stepping on, over, or past toes to choreograph those ideas into something synchronized and fluid. more ›

As is the nature of myth, the classical Greek plays are more or less timeless—they've endured for millennia, after all, because their themes continue to resonate—and none are more relevant to any given situation than this one. As Troy has fallen, the men are dead and the women await being divvied up among the conquerers. Hecuba, queen of Troy, leads her daughters in preparation for their new life as slaves. This is the core of The Trojan Women in every adaptation, and it's not hard to note its relevance to every war men have fought. But when a work is as timeless as this one, the need to update it for a new generation is called into question: Do we need to hear Hecuba call the conquering Menelaus a son of a bitch to understand that she's really, really mad? more ›