One the classic Greek tragedies The Women of Troy (sometimes called The Trojan Women) was written almost 2500 years ago; and since then many translations, adaptations, and abridged versions have been produced and performed countless times over, and in many languages.
Methuen Drama offer this ‘student version’ for 2024; with a translation of the script from Don Taylor (first performed at The National Theatre in 2007) and commentary, notes, and other useful materials by Emma Cole.
I myself studied and performed this play as part of my A Level Drama and Theatre (2001/2), and it is indeed still a choice for set text in one current A Level offer – component three in the Eduqas specification. It could however very easily serve as a play to select quality key extracts from for other A Level components, and also features some thought-provoking monologues too.
There are many practical reasons why this play might be a good choice: It's relatively short length, and single setting. The flexible casting options featuring both male, female, supporting and main roles, and the chorus which can feature any number of people many or few. The range of ideas, action, and technique it can showcase. Grand rousing monologues and snappy dialogues. Chance for interesting and innovative ensemble movement and choral speaking. The costume and production elements are suitably challenging, how to stage a ‘ruined city of troy’ for example.
Fundamentally though, the real crux of why a play written in the 5th century BC may still resonate in the 21st is in the theme. It could be considered the first ever Anti-War play. A provoking play that explores the aftermath of war, and the impact of loss on the survivors. As The Guardian say on the cover ‘… it doesn't take much imagination to see it directly applicable in our own times’.
The additional notes and materials here, are excellent for embracing this pertinent theme. Emma Coles provides a really comprehensive, and useful historical context, and a particularly helpful performance context and overview of production history – which all would really support any groups looking at the differences between an authentic staging and a contemporary adaptation.