This chapter uses archival material connected to the Royal National Theatre of Great Britain to reconstruct three performances of ancient tragedy in the first decade of its existence, from 1963 to 1973. The productions of Sophocles’ Philoctetes (1963), Seneca’s Oedipus (1968), and Euripides’ Bacchae (1973) each highlight different elements of the British theatre company’s investment in performing ancient Greek and Roman tragedies in this period. Archival material allows the researcher to plot performative trajectories which combine the personal investments of world-renowned artists and theatre professionals like Ted Hughes, Peter Brook, and Wole Soyinka with the angry responses of audience members and the anxious fears of the theatre company. By bringing to light a body of ephemeral evidence including letters, memos, accounts of meetings, telegrams, theatrical programmes, production notes, and stage managers’ reports, the resulting performative reconstructions go beyond the text of the play and bear vivid witness to the powerful emotions and cathexes that ensure the continued popularity of ancient tragedy on the modern stage.