The seed for OCCUPIED TERRITORIES began while I was directing an adaptation of Seneca’s TROJAN WOMEN in 2011. The women’s expressions of war bore a stark resonance with language I’d heard spoken for years by Vietnam Veterans. Particularly potent was Cassandra’s complicated relationship to her gods and Hecuba’s exquisite language at the end of the play about loss, the gods, and survivor’s guilt. Another detail struck to the quick: in TROJAN WOMEN, the king kills his daughter to get the wind to sail to war. He kills two more children for wind to sail his ships back home. Will children always be an auxiliary casualty of our wars?