Many of us have attended performances of Greek plays; a smaller number have themselves acted in one or more. To all these the question of the production of any play that is being read becomes of great interest, an interest which is not always adequately catered for by commentators in their editions. When I read a Greek play, I always like to imagine myself as ‘producing’ it, and try to visualize it on the stage, as Aristotle tells budding playwrights they should, when they are composing tragedies. I have taken here as giving examples of the kinds of point to be raised what is probably the best known of all Greek plays; but several of the kind of questions that it compels us to ask ourselves can be asked equally well in many other plays.