Of Women and Women - Gender Politics in The Penelopiad at The Citadel

Contrary to the title, I am not going to spend a great deal of time talking about gender politics other than to say that because of recent events in the world like this and this and this there is something so relevant and current about it.  You wouldn't necessarily think so since it tells a story that is ages old, but it tells it through the eyes of Penelope, the patient and faithful and clever wife of Odysseus.  Over the past few years, when studying drama at the University of Alberta and in working on my own plays a common question was "Why this play now?" and it makes me look at the theatre I see through that filter.  The Penelopiad has relevance now, because there are many, many situations in the world, and not just far away from us in the world, where women are relatively powerless in the world of men.  Something to think about...

And now, about the play and the production...

I read Margaret Atwood's play four years ago and loved it. It is a play that reads remarkably well on the page.  There is a reason for this - it's very much a story told through narration.  And I would say, that if you are going to have a play with this much narration, get Beth Graham to do it.  She was so strong as Penelope and she never failed to engage the audience.  You sympathize and connect to her and Graham makes Penelope likable and compelling and funny.  The world is created by the ensemble of maids who double as the many characters in Penelope's life from the arrogant and beautiful Helen of Troy (Mary Hulbert) to the clever and strong Odysseus (Lisa Norton) to the fawning and sniping nursemaid Eurycleia (Catherine McNally).  It's hard to single people out because what is truly lovely about this production is the strength and the evenness of the ensemble.  It was refreshing to see the stage filled with 13 strong women actors and see no weaknesses.  All the women, save Graham, flip effortlessly from maid to suitor to king or queen.  Some transitions taking place onstage with a simple addition of a costume piece and all of them flowed perfectly from one character to the next.  They sing and dance as a chorus carrying the story along and Don Horsburgh's music is used well to create the feelings of the moment as required. Director, Brenda Bazinet, deftly uses humour (more so in the first act) to engage us but she does so with the right amount of reserve so as to not take away from the drama of the piece. It all takes place on the gorgeous set created and lit brilliantly by designer Brette Gerecke. It is beautiful to watch and look at.

I like this idea of the modern and accessible re-telling of the old stories.  I like that you can understand every word and be drawn in and not feel like you have just read some dry and dusty book about mythology and legend.  I especially like that it re-invents the story and tells it from the point of view of a dis-empowered character and in that way empowers her. Why this play now?  Well, it's about time...