The work on The Eumenides began months before October 7th and passed through many incarnations . In one of its final early phases, we entered the studio to explore the qualities of vengeance, grace, and the transitions between them.

October 7th disrupted us. It blurred the line between vengeance and grace. After a break from the studio, we gathered again—this time on a new path, working under fire, under heightened emotions, trying to speak to the urgency of grace in times of war. Not by addressing the open wound directly, but also not by avoiding the very state that Aeschylus himself grappled with before the Common Era.

The post–October 7th adaptation begins where the original ends—with grace. It includes a prologue, an epilogue, and subtle interventions with contemporary texts written by Lilach Dekel-Avneri. But the majority remains rooted in the ancient world, in Aharon Shabtai’s masterful Hebrew translation—elevated, poetic, and a necessary distance from headlines, sirens, the hostages , and endless public campaigns.