Ellie Stay and Eleni Kokali in Epidaurus, relaxed and with almost no makeup.

A crowd gathered in Epidaurus to watch the unconventional performance of “Hecuba, not Hecuba” by Thiago Rodrigues.

Among the spectators who enjoyed the show up close were representatives of the art and media world, where the ladies stole the show with their looks. Among them were Ellie Stai and Eleni Kokali.

Elegant and comfortable, both ladies chose comfortable clothes and very soft makeup, as befits warm summer evenings. Ellie Stay chose a red sleeveless blouse for her look, which she coordinated with printed pants, while Eleni Kokali preferred white pants and a light blue top.

Stylistic agreement between Elie Stai and Eleni Kokkalis in Epidaurus

At their recent theatre performance in Epidaurus, Elie Stay and Eleni Kokali impressed with their stylistic match. Both ladies opted for simple, elegant looks, and wore their hair down.

The common element in their stylistic choices was simplicity and refinement, which projected a sense of timeless elegance, and highlighted the sense of space and occasion in ancient Epidaurus.

Rodriguez wrestles with the story of Hekavi. Myth meets reality, theater meets justice in a subversive environment. How do the problems of the ancient world relate to the modern world? What do a Trojan woman have in common with a modern woman, actress, and mother?

Thiago Rodriguez often says that he does not write plays for the stage, but for the actors who embody them. In Hecuba, not Hecuba, the heroine is Nadia, an actress rehearsing Euripides’ Hecabe. The former queen demands justice. She lost everything with the defeat of Troy: her husband, her freedom, her children. According to legend, she was transformed into a dog with fiery eyes in order to take revenge.

According to Tiago Rodrigues, the whole idea behind Hecuba, not Hecuba, was to combine a personal tragedy with an ancient tragedy. The Portuguese director chose to weave two parallel stories on stage, or as he put it, “to write between the lines of Euripides.” This is because the present is not independent of the past.
He explains that we always return to the unprecedented works of ancient tragedians, and ponder “what they have to say to us today.” The answer he gives himself is that “ancient drama is like a pair of spectacles, by wearing which we can understand the world better.”