Greek Theatre: From the Ancient World to the Modern, Through Theory and Performance is BADA’s month-long summer program dedicated to exploring the performance and reception of ancient drama. Its interdisciplinary model means it is suitable for students and theatre practitioners at various stages of their careers.

Participants will spend the first two weeks of the course in London before travelling to Greece for nine days and then returning to the UK for a final six day residency in Oxford.

At the heart of the course lies the fruitful interaction between text, performance and context, paying close attention to the cultural, social and political developments in 5th Century BCE Athens.  We’ll combine theory and practice throughout, and there will be opportunities to perform in Greece, and amongst the statues of the Ashmolean Museum in Oxford.

Sign up for our Greek Theatre mailing list for news, announcements, and application reminders.

  • BADA is pleased to announce our brand new course: Greek Theatre.  This intense, interdisciplinary course not only combines performance and academic research to immerse participants in the world of the classical Greek theatre but also includes the unique opportunity to explore multiple ancient sites and to visit archives and exhibits normally reserved for scholars.

    Participants will come away with a deep understanding of the culture and context in which Greek theatre developed and be able to draw connections from the ancient theatre, through Shakespeare and the Elizabethan theatre, to theatre and performance today.


    Eunice Roberts
    Dean, British American Drama Academy

    I’m very excited BADA is launching this new course dedicated to ancient Greek theatre and its reception. This is a unique opportunity for a group of 16 participants to explore Greek theatre throughout the ages with constant practice-based sessions designed to deepen understanding of its cultural and historical legacy – both good and ill. The course represents the perfect alignment of BADA’s rich tradition of training in London and Oxford, with the huge benefit of exposure to the sites of Ancient Greece. We have created an incredible itinerary, with access to academics and practitioners with compelling expertise in research, archiving and performance.

    If you have any questions about the course or how it will run, please drop me a line at


    Paul O’Mahony
    Course Director, Greek Theatre

  • Applications for Greek Theatre Summer 2022 are closed. Applications for the Summer 2023 will open in September 2022. Sign up for our Greek Theatre mailing list if you would like to be notified when the next round of applications opens.

    Your application for Greek Theatre includes:

      • Application form
      • Personal statement (approximately 500 words): Tell us about your background/experience and why you are interested in attending this program.
      • Academic Recommendation: Please ask a faculty member to submit a recommendation letter on your behalf via this link: The deadline for Recommendations was February 11, 2022.


    All applicants who submitted applications before the deadline will receive an admissions decision by February 1st.

  • Proposed Itinerary for 2022.

    Key Dates

    3rd June Arrive in London
    4th June Orientation
    6th June Teaching starts
    17th June Travel to Athens
    25th June Travel to Oxford
    1st July Course ends

    Sample Daily Schedule

    Schedule subject to change depending on the availability of guest artists and theatres’ performance schedules.

    Week 1
    (3 Hours)
    (3 Hours)
    (3 Hours)
    (3 Hours)
    (2 Hours) &  THEATRE TRIP
    (2 Hours) & ACTING
    (2 Hours)
    (2 Hours)
    (2 Hours)


    Week 2
    (3 Hours)
    (3 Hours)
    (3 Hours)
    (1 Hour) & ACTING
    (2 Hours)
    (2 Hours)


    Week 3
    (3 Hours) AT CHS


    Week 4

  • Greek Theatre is an intense, interdisciplinary course that combines acting and performance work, academic writing, and archival research. The tragedies of Aeschylus, Sophocles and Euripides will form the basis of our work on this course – both in the classroom and during studio time. A reading list will be provided prior to the course beginning.

    Classes include
    • Athenian Tragedy in Performance Spanning performance practice in the ancient world up to and including its reception today. How have generations reimagined tragedy to speak to their own eras?
    • Athens and Empire 5th Century BCE Athens was a fledgling democracy with a large empire. The tension inherent in this duality is often manifested in tragedy. This module explores the historical context of tragedy in Athens, as well as the appropriation of wider Greek literature and civilisation by far-right groups today.
    • Performing Aeschylus, Sophocles and Euripides We learn so much about these plays by exploring them as originally intended – in performance. This module will comprise of acting classes on how to approach scenes, monologues and choral work. There will be sessions in mask and movement work and opportunities to explore the plays through informal offerings in Greece and at the Ashmolean.
    • Shakespeare and the Ancient World The influence of Greek and Roman literature is found throughout Shakespeare’s work. This module explores several of his plays in performance.

    Work Expectations
    In addition to in-class acting and academic work and out of class preparation, participants will submit additional written work drawing from the theatre visits, site visits, and archive work:
    • Theatre reports (5 total)
    • Research papers (3 total)

  • Two weeks in London will be spent with time split between the classroom and the studio. Classes will cover the context of tragedy’s creation and early performance, as well as the reception of Attic tragedy in the UK and US. There will be an additional module on the influence of ancient texts in the work of Shakespeare. Studio sessions will focus on performance technique, with sessions on choral work and the role of the mask. Masterclasses will be provided by leading practitioners working with the RSC and Shakespeare’s Globe Theatre.

    There will be guided tours of the British Museum and Guildhall Amphitheatre plus two trips to see performances in London, and one further trip to Stratford-upon-Avon to watch a production at the Royal Shakespeare Company.

    Ham / CC BY-SA (; The British Museum was founded in 1753 and opened its doors in 1759. It was the first national museum to cover all fields of human knowledge, open to visitors from across the world.

    Enlightenment ideals and values – critical scrutiny of all assumptions, open debate, scientific research, progress and tolerance – have marked the Museum since its foundation.

    The Museum is driven by an insatiable curiosity for the world, a deep belief in objects as reliable witnesses and documents of human history, sound research, as well as the desire to expand and share knowledge.


    Philafrenzy / CC BY-SA (;,_London.JPG Guildhall Roman Amphitheater In 1988, Museum of London archaeologists made an astonishing discovery that changed the face of Roman London. During an archaeological dig taking place in preparation for the new Art Gallery building project, it was found that the capital’s only Roman amphitheatre was located in Guildhall Yard. In 2002, the doors to the amphitheatre opened for the first time in nearly 2,000 years.

  • We will then spend 9 days in Greece where we’ll retrace the route of the Panathenaic Festival in Athens, and visit the ancient sites of Delphi, Mycenae and Epidavros.

    We’ll have masterclasses with a leading actor from the National Theatre of Greece, and a choreographer from Greece’s National Opera company. You’ll be accompanied by the course director throughout.

    During your stay in Greece, you will see a number of ancient sites, including:

    Iosk / CC BY-SA (; The Acropolis Museum is an archaeological museum focused on the findings of the archaeological site of the Acropolis of Athens. The museum was built to house every artifact found on the rock and on the surrounding slopes, from the Greek Bronze Age to Roman and Byzantine Greece. More than 4,250 objects are exhibited over an area of 14,000 square metres. 


  • We’ll return to the UK for our final 6 days in Oxford. There we will be based at the Archive of Performances of Greek and Roman Drama, the foremost resource in the world for the study of tragedy and its reception. We’ll have full access to the archive with guidance from an archivist and a talk from Fiona Macintosh. We’ll also be able to attend the post-graduate Theatre and Classics Symposium held by the APGRD in conjunction with the Royal Holloway Theatre Department.


    Sarah Casey / CC BY-SA (; The Ashmolean Museum of Art and Archeology Established in 1683 to house the library and curiosities collected by Elias Ashmole — which included coins, books, and geological and zoological specimens  (among them the stuffed body of the last dodo seen in Europe) the Ashmolean Museum is the oldest university museum in the world. Today the collection includes a coins (Greek, Roman, Celtic, Byzantine, Medieval, Islamic and Chinese), Pre-Raphaelite paintings, majolica pottery, Victorian art and furniture, Chinese art (from the Neolithic period through to modern paintings and prints), antiquities from the Sudan and Ancient Egypt, and the Messiah Stradivarius violin.



    St. John’s College, University of Oxford was founded in 1555 by Thomas White, Master of the Merchant Taylor’s livery company in London; it is the first college at Oxford to have been founded by a merchant rather than a member of the church. Centrally located on St. Gile’s near the Ashmolean Museum, the College is organized in a series of seven quadrangles, including the Canterbury Quadrangle which is the first example of Italian Renaissance architecture in the city, and includes over four acres of gardens that date back to the 1600s.

    The college remains a major landowner in the city of Oxford.


    OxfordPlayhouse / CC BY-SA (; Oxford Playhouse is a theatre for everyone.Oxford Playhouse and its Burton Taylor Studio present and produce a wide range of live performance. The programme includes the best of British and international drama, family shows, contemporary dance and music, student and amateur shows, comedy, lectures and poetry. The Playhouse produces and tours its own shows, hosts Artists in Residence and presents Playhouse Plays Out, an ongoing series of off-site events which happen at locations across the county.

    The theatre’s Participation team work with over 15,000 people each year through post show discussions, workshops, work experience, holiday schemes, a youth theatre and a young people’s theatre company.

  • Paul O’Mahony (Course Director) is an actor, writer, director and producer. He is artistic director of the multi award winning theatre company Out of Chaos whose work has toured extensively in the UK, Europe, the US and New Zealand. Several Out of Chaos productions have been inspired by Greek literature. He is associate director of Actors From The London Stage with whom he has toured the US, playing leading roles in A Midsummer Night’s Dream, Much Ado About Nothing and Richard III. He was Eminent Artist in Residence at the University of Wyoming in 2015 and is an Associate of Harvard’s Center for Hellenic Studies. He is the artistic director of Reading Greek Tragedy Online – a global initiative he started with the CHS when the world went into lockdown. His acting credits include The Royal Shakespeare Company, The Orange Tree Theatre and English Touring Opera. For BADA he has directed three productions, and taught on the London Theatre Program and Midsummer in Oxford. He is currently working on a stage adaptation of the Aeneid, and a musical set in Delphi.


    Fiona Macintosh (Principal Academic) is the Director of the Archive of Performances of Greek & Roman Drama (APGRD). Professor of Classical Reception and Fellow of St Hilda’s College, University of Oxford. She joined the APGRD as Senior Research Fellow in 2000 after holding a lectureship in the Department of English, Goldsmiths’ College, University of London. She was Reader in Greek and Roman Drama (2008-2014) and has been the Director of the APGRD since January 2010. Her publications include Dying Acts: Death in Ancient Greek and Modern Irish Tragic Drama (Cork, 1994; New York, 1995), Greek Tragedy and the British Theatre, 1660-1914 (Oxford University Press, 2005, co-authored with Edith Hall), Sophocles’ Oedipus Tyrannus (Cambridge University Press, 2009), Performing Epic of Telling Tales (Oxford University Press 2020, co-authored with Justine McConnell). She is editor of The Ancient Dancer in the Modern World: Responses to Greek and Roman Dance (Oxford University Press, 2011), co-editor of Choruses, Ancient and Modern (Oxford University Press, 2013), and of Oxford Handbook of Greek Drama in the Americas (Oxford University Press, 2015).


    Marcus Bell is a 3rd year D.Phil student whose project, titled Choreographing Tragedy at the Turn of the Twenty-First Century, considers how tragedy is used, responded to, and reworked by international dance-artists and choreographers like Akram Khan, Pina Bausch, and Dimitris Papaioannou. Marcus is a queer dancer and choreographer themselves and so they are also interested in practice-based, and practice-as-research. Through the development of their thesis, they are aligning queer theory and theatre and performance studies with classical reception studies and critical new materialisms. This work is situated within a broader movement to decolonise the study of ancient Greece and Rome through theory and practice, which Marcus does with a collaborative network: Critical Ancient World Studies. They are also one of the co-conveners of a research network whose objective is to generate radical imaginaries, methodologies, and feelings with/against the Classical, broadly defined.Marcus teaches at University of Oxford and at Goldsmiths University in London, dances with Oxford-London based dance company Thomas Page Dances and they are an artistic associate with By Jove Theatre company. Their other interests include Roman pantomime dance, Epic, poetry, philosophy, and Film studies.


    Nina Bowers graduated from the Royal Central School of Speech and Drama in 2017. She trained on the CDT course (collaborative and devised theatre – BA 3 years) which enjoys a creative partnership with the award winning Complicite.

    Recent work: Cassandra in GIRL ON AN ALTAR at The Kiln Theatre, directed by Annabelle Comyn.
    The all-action supernatural adventure series LOCKWOOD & Co, written and directed by Joe Cornish and based on the bestselling novels by Jonathan Stroud and PANIC for Amazon Prime Video.

    Nina completed a year at The Globe Theatre as part of their Ensemble company performing Shakespeare’s History Cycle across the 2019 Globe Theatre Summer Season and the 2019-2020 Sam Wanamaker Playhouse Winter Season. Directors were: Federay Holmes, Sarah Bedi and Sean Holmes.

    Other theatre credits include DEAR ELIZABETH, (The Gate Theatre); directed by Ellen McDougall; THE WOLVES, (Theatre Royal Stratford East); directed by Ellen McDougall; THE MAGIC FLUTE, (Aix-en-Provence Festival), directed by Simon McBurney; CRAVE (The Pit, Barbican) directed by Julie Cunningham; The one woman play TWILIGHT: LOS ANGELES, 1992 (The Gate Theatre) written by Anna Deavere Smith and directed by Ola Ince. For this ground-breaking piece of verbatim theatre Nina played over 19 characters; TOMORROW I’LL BE TWENTY, directed by Catherine Alexander for Complicite.


    Leo Wringer went to the Guildhall School of Music and Drama where he was awarded the Shakespeare Prize. His classical work includes: Michael Grandage’s A Midsummer Night’s Dream at the Noel Coward Theatre; Blackta for Young Vic; Fool in King Lear with the late Corin Redgrave as Lear, Prince of Verona in Romeo and Juliet directed by Peter Gill, and Duke of Ephesus doubled with Doctor Pinch in Tim Supple’s production of Comedy of Errors – all for the RSC. For Shakespeare At The Tobacco Factory, Bristol, he played Brutus in Julius Caesar, Petruchio in The Taming of the Shrew, Aaron the Moor in Titus Andronicus and the title role in Othello – director Andrew Hilton; Camillo in The Winters Tale for Complicité; Cinna The Poet in Julius Caesar at the Barbican, then King Of Athens in Fiona Shaw’s Medea in Dublin and West End, both productions directed by Deborah Warner. Among the modern work he’s played in: Perseverance Drive, Sixty-Six Books & Two Horsemen – all at the Bush Theatre, the latter achieving a Time Out Award; Zinnie Harris’s The Wheel for National Theatre of Scotland, directed by Vicky Featherstone; and Search and Destroy at the Royal Court directed by Stephen Daldry. Film and TV credits include: Nighthawks, Death in Paradise, The Kitchen Toto, Silent Witness, Judge John Deed, Canterbury Tales, Casualty, Law and Order, Rebus, and the role of Thomas Peters in Simon Schama’s Rough Crossing.


    Claire Catenaccio is a scholar of Ancient Greek literature, particularly drama, and its modern reception. She has published on the imagery of dreams in Aeschylus’ Oresteia, on singing heroes in Sophocles’ Trachiniae, and on the transformation of the myth of Orpheus in the Broadway musical Hadestown. As a dramaturg and director, she has worked extensively with modern stagings of ancient texts. She teaches as a member of the faculty at Georgetown University in Washington, D.C.

    Claire will be joining the program as a guest lecturer in Oxford.




    Oliver Taplin was a fellow and tutor of Classics (Literae Humaniores) at Magdalen College, Oxford. Professor Taplin is author of several books, including ‘Greek Fire’, a celebration of the capacity of Ancient Greek culture to stand the test of time and influence modern art, thought and society. The book accompanied a Channel 4 documentary series of the same name. He set up the APGRD (Archive of Performances of Greek and Roman Drama) in 1996 with Edith Hall. It is devoted to the international production and reception of ancient plays since the Renaissance. He has also worked with productions in the theatre, including The Oresteia at the National Theatre (1980–81), The Thebans at the RSC (1991–92), and The Oresteia at the National Theatre (1999–2000). He was elected a Fellow of the British Academy in 1995.

    Professor Taplin will be joining the program as a guest lecturer in Oxford.

    Joel Christensen (Course Consultant) is Associate Professor and Chair in the Department of Classical Studies at Brandeis University and teaches courses in Greek Epic and Archaic Poetry; Rhetoric and Literary Theory; Linguistics; Mythology. He taught previously at the University of Texas at San Antonio (2007-2016). He received his BA and MA from Brandeis (’01) in Classics and English and his PhD in Classics from New York University (2007) where he also received an Advanced Certificate in Poetics and Theory.

    Professor Christensen has been a Fellow at the Center for Hellenic Studies (2013) and has received the Society for Classical Studies’ Award for Excellence in Teaching at the Collegiate Level (2013). In addition to articles on language, myth and literature in the Homeric epics, he has published a Beginner’s Guide to Homer (One World, 2013) and also Homer’s Thebes (CHS, 2019) with Elton T. E. barker as well as A Commentary on the Homeric Battle of Frogs and Mice (Bloomsbury, 2018) with Erik Robinson. In 2020, his “The Many-Minded Man: the Odyssey, Psychology, and the Therapy of Epic” comes out from Cornell University Press.

    Joel lives with his family in Dorchester, MA. He spends his ‘off’ hours posting material to the popular Classics-oriented website. and tweeting about it (@sentantiq).


    Eunice Roberts (Dean of BADA) Trained at Bristol Old Vic Theatre School and has a wide professional acting experience in theatre and television. One of her first jobs was the Old Vic World Tour of Hamlet with Sir Derek Jacobi – who was BADA’s Patron for many years. For most of her professional life she has combined acting with teaching and has had the good fortune to tour American universities many times with Actors From The London Stage, in Shakespeare plays, she remains an Associate Director of the company. She has returned to work at various campuses, including for a year being the Visiting Director of Theatre at Vassar College. Eunice has written & produced her own one woman show; Wonderful Women on the Victorian actress Ellen Terry, as well as a devised piece …one, two, three… based on Twelfth Night. She was Producer for the new Norton online edition of the Complete Works of Shakespeare – 69 scenes, from 23 plays with 26 actors. She has worked for BADA since 2006 in London and Oxford.

    Eunice has played Clytemnestra and Hecuba, as well as assorted other parts, in the Reading Greek Tragedy Online series.


  • Schedules permitting, we will be joined by the following artists for workshops and masterclasses during the course.


    Argyris Xafis graduated from the National School of Dramatic Arts in Greece, and has performed ancient tragedies numerous times in Epidaurus. He has won several awards for his cinema and stage work and he’s also an acting professor at Athens Conservatory Drama School. IMDb
    Sofia Paschou studied at Arhi Drama School, and at LISPA (London International School of Performing Arts), where she completed (and worked afterwards) the pedagogical training program.

    She is Artistic Director of Patari Project, a physical theatre company based in Athens, for which she directed the performances: 10cm up, Odyssey, Shoe catcher on the piano, Νose, Chionani, Theogony: a great fiesta (Epidaurus Festival), Four Seasons (Greek National Opera).

    She has also directed The Seesaw (National Theatre of Greece), Τhe Slave (Porta Theatre, co-direction with Thomas Moschopoulos), MUTE (Neos Kosmos Theatre), and Who discovered America? (National Theatre of Northern Greece).

    As an actress she has worked with Lilo Baur, Helen Chadwick (Royal Opera House, London), Dessislava Stefanova, and with Out of Chaos.

    She has signed the movement of the works Iphigenia in Tauris, Arrival – based on Homer’s Odyssey and The Frogs, all performed at the Epidaurus Festival, The trial of K and Candide (Porta Theatre), Fahrenheit 451 (Athens Festival), MANON and Return, both at the Greek National Opera. She is a drama teacher at the Athens Coservatoire’s drama school. She has also taught at the Birmingham School of Acting and at the National Theatre, London.


    Evelyn Miller trained at the Guildhall School of Music and Drama.

    She is a member of the RSC education department and has led workshops and acting classes at universities and colleges including Wellesley, Vassar, Notre Dame, UCLA and UT Austin.

    With the Playground Theatre she facilitates writing and

    play reading groups with service users at the mental health ward at St. Charles hospital, as well as with the charities Age UK and Open age.

    Theatre includes: Deep Night Dark Night,The Taming of the Shrew (Sam Wannnamaker Playhouse); Pericles, The Comedy of Errors, Twelfth Night, (Shakespeare’s Globe); A Midsummer Night’s Dream (Sheffield Crucible); Jane Eyre (National Theatre/ U.K Tour); Richard II, Henry IV Parts 1 and 2, Henry V, The Famous Victories of Henry V (RSC); The Taming of the Shrew, Richard III (AFTLS);Swallows and Amazons (Bristol Old Vic); Romeo and Juliet (Orange Tree Theatre) and The Little Prince (Royal Opera House). Television includes: Flowers in the Attic – The OriginsHolby City, Doctors


  • The APGRD (Archive of Performances of Greek & Roman Drama) is a pioneering international centre for research into performances of Greek and Roman drama worldwide, from antiquity to the present, on stage, screen and radio, in opera and dance.

    Based at the University of Oxford, the APGRD’s rich collections and activities have been made possible by generous support from the AHRC, The Leverhulme Trust, The Andrew W. Mellon Foundation and The Onassis Foundation.

    As well as hosting a high-profile series of public talks, the APGRD supports new writing and works closely with practitioners engaged in the creative arts and beyond.

    The provision of cutting-edge research is one of the APGRD’s primary aims, with a publication record to match.

    Our research team of experienced and emergent scholars has produced pioneering studies and our digital resources include freely available databases of both ancient and modern productions. New research programmes include Performing Epic; Translating Ancient Drama, and Interactive Multimedia e-books.

    The APGRD aims to create a wider community of scholarship, drawing upon experts and practitioners from the worlds of classics, theatre, music and dance. This unique, multidisciplinary, and inclusive approach gives the APGRD additional vitality and relevance.

    Our archives contain over 10,000 items relating to modern performances of Greek and Roman drama. The centrepiece of the archive is the Leyhausen-Spiess collection, which documents European theatre history from the 1920s to the 1970s.

    Managed by a professional archivist, the APGRD archives are accessible to scholars and practitioners. To make an appointment to consult the collections, please see our Visit us page.

    Our video, audio and manuscript collections provide the raw materials for future scholarship and allow modern performances to be preserved for posterity. Donations to the archive are welcome.

    From commissioning new plays to hosting rehearsed readings, the APGRD works to further the understanding of ancient theatre – where western drama began and where the first musical theatre appeared.

    The APGRD’s members have been producers, academic advisors and consultants on internationally acclaimed productions. The APGRD provides directors, writers, actors, choreographers and composers with a space to speak and engage with academics and students.

  • We welcome applicants at the undergraduate and graduate level as well as those who are not currently enrolled in educational programmes. Applicants aged 18 must have at least one year’s experience away from home to be considered for this course.

    Please note: Greek Theatre is a physically demanding course with a packed schedule that includes a number of walking tours and site visits. All teaching spaces and accommodations are fully accessible but the historical nature of the ancient sites allows for limited accommodations.


    The 2022 Greek Theatre Program fees are: $8,450

    Program fees include all excursions (theatre trips, site visits, museum admission and tours, etc.), air transportation to/from London to Greece, all ground transportation and accommodations while on the course.

    All fees are payable in US dollars. Please contact Helen Ainsworth at should you wish to settle the fees in UK Sterling so that an appropriate rate can be agreed.

    On acceptance, in order to hold their place, applicants will need to pay a non-refundable deposit of $500.

    The remaining fees are due as follows:

    1st March $3,700
    1st April $2,700
    1st May $1,550

    The balance of fees payable become non-refundable on the due dates above.

    Please note, in addition to the fees payable to BADA, participants are responsible for:

    • Roundtrip Airfare to the UK
    • Insurance
    • Spending money

    Greek Theatre Program Refund Policy

    A deposit of $500 is required on acceptance, which is non-refundable. The balance of fees payable fall due as stated above and become non-refundable on those dates.

    If the program is canceled by BADA due to circumstances beyond our control, all fees, with the exception of the application fee, will be refunded. BADA accepts no responsibility for personally incurred expenses such as flights or pre-booked ground transportation.

    Fee Protection Insurance

    BADA suggests that, if you are offered a place on this program, you should seriously consider the benefits of taking out a fee protection plan. If for any reason you cannot start or complete the course, insurance would alleviate if not eliminate your financial loss.

    Various insurers offer Fee Protection Insurance; BADA does not recommend one above another nor does BADA recommend a particular type of coverage.

  • These are the proposed accommodations for the 2022 Greek Theatre course and are representative of the type and quality of accommodations for course participants; final accommodations will be confirmed in Spring 2022.

    London – The Stay Club Camden

    The Stay Club Camden is located in the heart of Camden, one of London’s most vibrant neighborhoods. Directly across the street is the world-famous Camden Market – a collection of over 1,000 shops, stalls, cafes, and food purveyors. There are also a large number of restaurants, cafes, and grocery stores in the area immediately surrounding the Stay Club.

    BADA’s premises are just a fifteen minute walk and nearby Tube stations at Chalk Farm (5 minutes) and Camden Road (10 minutes) will whisk you to the West End and all that Central London has to offer in only 15 minutes. Hampstead Heath, a large and ancient park that contains spectacular views from one of the highest points in all of London, is about 25 minutes away on foot.

    Greece – Acropole Hotel

    The Acropole Delphi Hotel is a family-run hotel that invites you to enjoy Delphi. Only one block from the town centre, the peaceful location allows guests to get away from the crowds while still being very close to all the local amenities, the Archaeological Site and the Museum. You’ll fall under the spell of its stunning views of the Gorge of Delphi and the olive groves of Itea. The amazing sunrises and sunsets will remain with you a lifetime.

    Oxford – St. John’s College

    While in Oxford, the course is based at the University of Oxford’s St. John’s College, which was founded in 1555. The college lies in the heart of Oxford and is ideally located and only a 10 minutes’ walk from the Oxford Railway Station and 5 minutes’ walk from the Gloucester Green Bus Station.
    Oxford is one of Europe’s great university cities and contains many of England’s most sublime and beautiful buildings and hosts some of its finest and most historic museums as well as beautiful parks and meadows for our programme participants to explore.

  • BADA is not an accredited US institution; we are unable to provide academic credit for the course.

    With its intensive workload, 77 contact hours and 90 further unsupervised work hours, this program has a suggested credit equivalency of two 3 credit courses, in line with other programs BADA runs. You will finish the program with a portfolio of work, and the course director can provide a written assessment for your home institution.

    Classroom and Coursework breakdown by hours

    77 hours of contact time

    Classroom time in London – 24 hours
    Acting classes in London – 12 hours
    Trips to British Museum and Guildhall Amphitheatre – 9 hours
    London masterclasses – 4 hours
    Greece – 2 masterclasses – 4 hours
    Greece – guided tours of Delphi, Mycenae, Acropolis – 9 hours
    Greece classroom time – 3 hours
    Greece acting class time – 4 hours
    Oxford classroom time – 4 hours
    Oxford acting classes – 4 hours

    90 hours of unsupervised work

    London – 2 theatre trips, one Stratford trip – 9 hours
    Greece – 2 theatre shows – 6 hours
    Report on each theatre show we see – 5 x 2 = 10 hours
    Oxford seminar – 8 hours
    APGRD access time – 10 hours
    Performance writing/prep – 35 hours
    3 papers x 4 hours – 12 hours

  • Please visit our Covid-19 page for information on protocols and mitigations currently in effect at BADA.

For enquiries about BADA’s Greek Theatre program, please contact:

Paul O’Mahony, Course Director