Following the European Recovery Program and the Greek tourist model introduced by the United States of America, the Greek National Tourism Organization encouraged the celebration of artistic events at ancient theatres that would attract external attention. Multiple events across the country created a new tourist market that would contribute to international propaganda and the reconstruction of the Greek economy. At the same time, they would serve the nationalistic ideals of early post-war Greece and satisfy American policy. In this sense, the celebration of the Homecoming Year, a cultural and sociopolitical event that the Greek state organized in 1951 to tighten the link between Greek American diaspora and the ‘homeland’, shaped this artistic tradition. Theatrical productions organized at the theatre of Epidaurus, Delphi and the Odeon of Herodes Atticus reflected the ‘theatrical fervour’ that the emergence of mass tourism had generated. The interest of renowned theatrical directors in performing at ancient venues during this period showcased their attempt to dominate the theatrical stage and displayed the phenomenon of ‘festivalization’. However, it was the National Theatre that would eventually absorb some of these artists and would dominate the Greek theatrical stage since 1954, producing large-scale productions at the main ancient theatres.