Every generation of Greek theatre has its moment — a point where new voices step forward, not quietly, but with the kind of presence that makes the audience lean in. The Melina Mercouri and Dimitris Horn Awards, presented this May at the Acropol Palace, mark exactly that moment: a spotlight turning toward a new wave of actors redefining what Greek performance can look and feel like.
This year’s nominees come from wildly different corners of the stage — yet they share one thing: a sense that they’re not just performing roles, but reshaping the emotional vocabulary of Greek theatre itself.
Nominated for the Melina Mercouri Award
Evelyn Assouad, for the role of Cassandra in Aeschylus’ “Oresteia”, directed by Theodoros Terzopoulos at the Epidaurus Festival 2024 (with a revival in 2025).
Nantia Katsoura, for the role of Margarete in Goethe’s “Faust”, adapted and directed by Aris Biniaris at the National Theatre of Greece.
Lida Koutsodaskalou, for the role of Laura in “The Glass Menagerie”, directed by Antonio Latella at the Karolos Koun Art Theatre.
Nominated for the Dimitris Horn Award
Christos Diamantoudis, for the role of Hamed in “The Boy with Two Hearts” by Hamed and Hessam Amiri, directed by Takis Tzamargias at Alma Theatre.
Giorgos Zygouris, for the role of Mitch in Tennessee Williams’ “A Streetcar Named Desire”, directed by Dimitris Karantzas at Proskinio Theatre.
Vasilis Boutskikos, for the role of The Boy in “Cursed World” by Vasilis Mavrogeorgiou and Julia Diamantopoulou, directed by Vasilis Mavrogeorgiou at the Art Theatre (Frynichou), and for the role of The Salesman in Thomas Bernhard’s “Walking”, directed by Alexandra Kazazou at Dipylon Theatre.
Panos Papadopoulos, for the role of Vladimir in Samuel Beckett’s “Waiting for Godot”, directed by Thomas Moschopoulos at Porta Theatre.
Nikos Stergiotis, for the role of Chaby in “Know That What You’re Hearing Is a Train Whistle” by Thanasis Triaridis, directed by Nikos Marnas and Giorgos Giokas at Studio Theatre, Mavromichali.
Vasilis Tryfoultsanis, for the role of Pascual Andersen in Ivan Vyrypaev’s “The Iran Conference”, directed by Christos Theodoridis at PLYFA Theatre.
Together, they form a constellation of rising talent — actors who are not simply “promising,” but already shaping the future of Greek theatre.
SINON 