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Agh, my bad, I forgot about those... Well, for starters, there are some things that are already quite suboptimal in vanilla: The upper left is reserved for system messages. There are so many things that could be fixed that I don't even know where to start, but to keep it simple right now, I would place those tech icons lower, at the same level as the group icons on the left, and with the same separation. Then you would have space for your notifications.

You don't have these tech research progress indicators ?

How would it look exactly with deactivated unit colouring? I wonder if that would become too noticeable. An alternative I proposed is that "the enemy would see as its own", but of course not control, and it could be attacked as any enemy. Regarding "sounds more like scouting and less than spying", limited speed and FOV would solve that, with a larger FOV reserved only for Heroes (from gossip and such).

Can you share?   More from the Oxford Classical Dictionary (previously I mentioned that "the stage was about a metre high with a flight of steps in the centre communicating with the orchestra"): "The stage was entered from either side (and some plays exploit the contrast), and from a central door in the stage building, representing palace, temple (and sometimes pavilion, tomb, or cave) in tragedy; for comedy, three doors are certain for the 4th cent., and were probably available in the 5th. The central door also housed the ekkykléma, a wheeled platform perhaps measuring c.2.5 1.5 m., and in any case large enough to display set-pieces of events that had taken place inside, like Ajax's torture and slaughtering of the animals in his tent in Sophocles's play Ajax. Towards the right (western) end of the stage area a crane (méchané, machina) could be manipulated from behind the stage building to bring gods or heroes through the air onto the stage, or to have them fly up from it, like Bellerophon on Pegasos in a scene of Euripides which Aristophanes parodies in Peace. The roof of the stage building was also accessible: it was used for the watchman on the roof in Aeschylus’ Agamemnon, but in later tragedy mostly for the appearance of gods. The contrast between the hidden interior of the stage building and the daylight outside, between the gods on high and the actors on stage, and between these and the chorus, half-way to the audience and virtually within its territory, are all physical facts which the playwrights exploited. It is possible that the stage building had wings already in the later 5th cent. but the evidence is uncertain. In the 4th cent. the most important development was the so-called Lycurgan theatre with its stone stage building faced with semi-columns."   The most clarifying picture I could find:   Then: -You can leave the episkenion (second skene level), it was present by the late 5th c. BC, but maybe modified to have space for a hatch and stairs. -You could add a small 1 m high stage with central stairs leading to the circular orchestra. Your three skene doors look too similar to panels. -Your stone semi-columns seem from the post-350 BC Lycurgan phase. By then, the seating would have been of stone also. I'd stick with wood. -You could leave the central door open to show the wheeled plataform. Maybe another door could be (partially) open, revealing clothes and masks. -That crane doesn't seem accurate (no counterweight), but there are plenty of options around, which would improve the rear skene looks. -I'm not really sure how the "interior" was used, seems a bit too hidden for me, maybe it's just that the stage has some shadow from the skene. EDIT: maybe the first row of seats could be made of stone, that was one of the first stone additions, and it was maybe present by the time there were three acting levels, after all "some think that there was no stage building till shortly before the Oresteia in 458 BC", at least using the Theatre of Dionysus at Athens as reference.