The alternative stage of the GNO commissioned FYTA to produce an adaptation of Monteverdi’s L’Orfeo. The reworking followed structural narrative elements of the original text, but set the action in the near future, raising issues such as radical politics and the notion of ‘revolution’ in late capitalism, East / West relations, the myths of Hellenism, as well as the ways in which neoconservative politics can appropriate the human rights discourse of LGBT communities. The cast consisted of opera singers and queer performers sharing the stage, while baroque musicians, video artists and fashion makers coexisted behind the scenes. A meeting place of varied practitioners, a work of delicate balance of politics and aesthetics.

And while one of the intentions of the work was to confront the myths of greek national history, exposing their internal contradictions, inherent exclusionary violence and pure absurdity, it seems like the gods of greekness had the last laugh. The play attracted controversy since its very announcement with conservatives hating its unapologetic gayness and radicals doubting our ‘good politics’ credentials – especially since we were willing to collaborate with big institutions. In the end, greece entered a lockdown one day before our premiere, leaving us with a fully-prepared work that would not be presented to an audience. The greek gods would withhold the edging key to our creative ejaculation once more.