Every reproduction of a Greek play faces the same limitations when it comes to determining a script. Even if the stories surrounding certain collaborative efforts in the last quarter of the fifth-century are based in truth, there is nevertheless so much that would come under the modern rubric of 'the text' associated with the original production of these plays that is irrevocably lost. Noticing this aporia is surely a commonplace, but needs to be emphasized because the solutions to the problems that have been proposed tend to deny a problem exists.
Productions tend to two extremes.
The question of 'otherness' persists. Either there is a reaching for an ultimately unattainable Greek ideal which will not be fully understood by a modern audience, or a familiarity to what is seen on stage which denies the play's foreign origin and history. Such supports need not be diachronic, but could be cross-cultural. Certain living world theatres have a repository of dance movements, a repertory of music, and shelves of masks that can provide an authentic cross-cultural base for a production of an ancient Greek drama. A modern directorial decision to use such a base is not going to yield the same show the Athenians saw, certainly.