Theatrical Tradition

Theater on Meganisi has a long-standing tradition. Amateur theater troupes began appearing in the late 19th century in the villages of Lefkada and Meganisi (as documented in *Folk Poets of Lefkada*, Kastaniotis Publishing).

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The following information is derived from the accounts of Lambros Daglas, Takis Argyri (a teacher), and the memories of other Meganisi residents.

The first performances took place in Katomeri around 1800 with the play *Erotokritos* by Vitsentzos Kornaros, which premiered on Lefkada. This confirms that Cretan theater, which survived in the Ionian Islands after the Turks took over Crete, took root in Lefkada and later spread to Epirus and mainland Greece.

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In 1904-1905, *Golfo* and possibly *Morfo* by Spyros Peresiadis were performed in Katomeri. In the early 20th century, *Golfo* and *The Slave* by Peresiadis were also staged in Spartochori. During this time, a new form of theater sketch called *Ntondo*, based on folk poetry, emerged, with a popular couplet that goes: "Vergolis shouted from Komba, the caves echoed like a bomb fell."

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According to testimonies, these sketches were performed before 1850 as a type of street theater. By the early 20th century, they were also performed by elementary school students.

In 1914, *Golfo* was performed again, this time with costumes from Xiromero to better match the theme.

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From 1910 to 1920, the same plays were repeated, with *Golfo* in Katomeri in 1927 and *Esme* by Peresiadis in 1928, where Stefanos Daglas (alias Kourakis) played the role of Floga at the age of 39 and reprised it in 1962 at the age of 72.

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In the 1920s, there was similar theatrical activity in Spartochori. 

During the Occupation, all activities in the villages ceased, but in 1943, the theater troupe of Christos and Notis Bogratos arrived on Meganisi. One of the many troupes that fled Athens to avoid starvation, the troupe performed nightly in all three villages, with local amateur actors also participating. In Katomeri, the performances took place in the basement of Panos Avgerinos, hence it was called "the Katoi Theater."

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In Spartochori, performances were held in the schoolyard and at Panos Athanitis’s café. The plays were socially and patriotically themed but slightly concealed, for fear of the German garrison stationed in Vathy. Tickets were paid in goods—bread, oil, cheese, or whatever each person could offer.

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It is clear that this troupe contributed to the island's theatrical education and entertainment during those challenging times, and "the Katoi" remained open until the Liberation.

In early 1944, while the Germans were still in Lefkada, the E.P.O.N. (Youth Organization) of Katomeri and Spartochori created theatrical groups that performed patriotic plays like *To Arms* and *Long Live the New Generation*. For the first time, women participated in these performances, joining again in 1976 after E.P.O.N. disbanded.

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The Civil War halted all activities, but by 1951 and 1952, local troupes re-emerged with, of course, *Golfo*, performed in both villages. In 1952, Katomeri staged *The Ancestral Home* by St. Dafnis, and Spartochori performed *Athanasios Diakos* by A. Valaoritis. Other notable performances included *The Shepherd’s Lover*, *The Homeland*, *The Dance of Zalongo*, and other works by various playwrights.

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By 1956, amateur theater groups comprised high school graduates and students. The Katomeri troupe performed in Mytikas, Nydri, and Zaverta, and in 1956, they staged *The Poisoned* by F. Gofyli, also performed on Ithaca. In 1958, Katomeri staged *Antigone* by Sophocles, and Spartochori staged *The Slave*, *The Dance of Zalongo*, and *The Crooked Stick* by D. Psathas.

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On May 25, 1962, the cultural association *Mentor* was founded in Katomeri to further develop amateur theater, while in Spartochori, a cultural and sports association was also established that year. However, both were dissolved in April 1967 by the dictatorship.

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During the dictatorship, theatrical activity ceased due to restrictions requiring special ministry permits. However, students ignored these decrees and, with the local authorities’ tolerance, staged *The Thief is Shouting* by Psathas in Spartochori during the summer.

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In 1976, the *Worldwide Meganisi Association Mentis* was founded, with a theater section featuring mainly students, high schoolers, and seasoned actors, becoming the most active part of the cultural groups. The association’s female roles were now performed by women exclusively, and in its ten-year operation, theatrical activity reached impressive creative heights.

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Subsequent years saw performances by local youth groups and support from the Spiritual Center of the Municipality, with plays like *The Churchgoing Women* by Aristophanes, *The Care Home* by M. Korres, and other significant productions, even participating in regional festivals.

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Over the years, amateur theater groups evolved to include directors, role-reading actors, stage designers, costume helpers, makeup artists, and lighting/sound technicians. From the 1970s onwards, stages were set by local youth, and by the 1990s, a permanent stage was established at the elementary school in Katomeri, while Spartochori’s setup was handled by the Municipal Technical Service. 

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The audience participation from the 1880s to today has been impressive, with some performances drawing up to 1,500 spectators.

The tradition continues today with the women's association *Ilakate* and its theater group *Curtain Up*, which performed *House of Guilt* in 2018 to great success in Meganisi and Athens, evoking memories of past eras. The nickname "Theater Island" is fitting for Meganisi, as its talent runs deep.