Flemish theatre in Belgium has recently faced growing criticism for being "too white," with concerns spanning from its organisational structure to casting choices and repertoire selection. This critique reflects broader questions about cultural representation and the evolution of theatrical traditions in increasingly diverse societies.

In response, theatre critic Erwin Jans advocates for the exploration of non-Western theatrical works, particularly highlighting Arabic adaptations of the Greek tragedy Oedipus. By examining these adaptations, Jans situates them within broader cultural and political contexts, challenging the Eurocentric readings that have dominated Western theatre.

This approach represents a significant intervention in how mythological narratives are understood and performed. While the Oedipus myth originated in Greek culture, its themes of fate, identity, and self-knowledge resonate across cultural boundaries. Arabic adaptations often reinterpret these universal elements through specific cultural lenses, adding new dimensions to the story while maintaining its fundamental dramatic power.

By advocating for engagement with these adaptations, Jans encourages a more inclusive and multifaceted interpretation of classical works. This perspective recognises that mythological narratives are not static cultural artefacts but living traditions that gain vitality through cross-cultural dialogue and reinterpretation.

The discussion around diversifying Flemish theatre through engagement with non-Western adaptations of classical myths demonstrates how traditional narratives can serve as bridges between cultures, fostering a richer dialogue between diverse cultural expressions while questioning established canonical interpretations.