“The impressive Daisy of Theodora Loukas is completely convincing as a disappointed woman who offers herself to the house with style, delicate, holding a glass in her hand and occasionally wetting her lips with the drink, sometimes protective, other times ironic and later explosive in her indignation.”

“Theodora Loucas, in the role of Daisy, conveys with empathy and precision the silent anguish of a woman living in the shadow of her husband’s creative instability. Through a performance full of inner tension, Lucas gradually reveals the heroine’s layers: from her apparent calm to the repressed disappointment and exhaustion that lurks beneath the surface. Her physicality on stage functions as a silent commentary on her mental state —the restrained movements, the moments when her gaze is lost in space, or the tension in her pauses reinforce the sense of a woman trapped in a relationship that is draining her. The way she interacts with Tom reflects the deterioration of their relationship, as her voice gradually fills with bitterness, resentment, but also an underlying sadness.

Loukas exploits the details of the role with great skill: her expressions convey the unspoken anger and repressed sadness of a woman who sees the years pass without any prospect of change. In tense scenes, her performance does not explode into melodrama, but remains internal, full of muted tension, making her anguish even more poignant. Through a deeply human and multi-layered performance, Theodora Lucas transforms Daisy into a vibrant, complex person who carries the burden of a life full of unfulfilled hopes and dashed expectations. Theodora Loukas is an impressive wife, Daisy, but not convincing as a person with a passion for alcohol, since the director did not want an alcoholic but a lady who loves gin to some extent, while she is completely convincing as a disappointed woman who offers herself at home with style. delicately, holding a glass in her hand and wetting her lips with the drink occasionally, sometimes protective, other times ironic, and later explosive in her indignation.”

“And while we have the feeling, as viewers, that the entire play will focus on this drama that the girl is going through and the strength that the father must find to face whatever may arise in the development of young Bridget’s health, when the protagonist returns home, his image now becomes a tragic figure, because there awaits him his wife Daisy, Theodora Loukas, weak from her addiction to alcohol to cope with any challenge in life, let alone caring for their daughter. A young woman, with an artistic nature, who lives far from everything and everyone, but at her husband’s side, anxiously awaiting David’s evaluation of her husband’s writing work, an evaluation that will bring them money for a better clinic for Bridget and a better quality of life for both of them. Through the internal battle with herself, the deep love for her husband, the confessions about the assessment of her life, Daisy in turn becomes deeply tragic.”

“Theodora Papachristofilou Loukas, a founding member and producer of Eclipses, played Clytemnestra and her concerns with personal and transcendental justice with stately, and later – when the husband who murdered her daughter Iphigenia returned – steely determination.”

““Noura (filmmaker) is played by Greek-born actress Theodora Loukas with sensitivity and vulnerability. In a constant state of powerless reaction, she reflects the rest of humanity. Through Loukas’ delicate artistry, Noura gives the audience a voice in this conversation. She embodies the awkward embarrassment we feel for having never endured such torture while trying to relate to people who have.””

““I received this note from a woman who attended the Gabby Awards at Carnegie Hall. She’s referring to the opening”

”At the end of the opening, we were overcome with emotion. We were numb. I looked around and saw everyone in my row wet with tears. The actors were flawless... they had become all of our parents and grandparents and the Greek America Foundation honored ALL of their journeys. We couldn’t even applaud when it was over. We were numb. The immigrants joined us in the audience... as new Americans. They had become us. Your singers’ voices were hauntingly beautiful and the band sounded as if they were Carnegie Hall regulars. Bravo to everyone involved for what I consider to be the most monumental night in my Greek American existence.””

“The Greek Play Project New York, a two-day theatrical staged reading of contemporary Greek works at New York University. An extremely important initiative for the promotion of contemporary Greek drama.

In Chorus by Dimitris Dimitriadis -
Translated by Theodora Papachristofilou-Loukas

Fifteen representatives of the citizens gather outside the palace. The authorities asked them to come for an unknown to them reason. Time passes but no one shows up from the palace. They gradually realize that the palace is empty. Why did their leaders abandon them? Where are the gods? Who will take action on the project now? The play transforms the stage of an ancient Greek theater in the political landscape of our times. The citizens of the Chorus must find a new identity and a new destiny for themselves.”