“There is a range of attitudes in the industry from blind optimism to sheer pessimism, depending on who you talk to and what day of the week it is,” says Williams, when asked how hopeful he is about the future of Scottish Theatre. “I do think that when people can return to the theatre, they will. I think there will be a real hunger for live events.”
Two and a half thousand years old, the tale first written by Aeschylus could hardly be more topical. Themes of democracy, citizenship, rights of women (and wrongs of men) weave through the rhythmic text, in words sung and spoken. As Britain teeters on the edge of a divisive Brexit, feeding fears of migrants and foreigners, Greig’s script evokes the human plight of refugees – and the dilemma of the host country.