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...

Skirts Afire - What are you Passionate About?

Monday evening I was delighted to attend the launch for Skirts Afire - HerArts Festival at The Carrot on 118th Avenue.  The brainchild of local actor and playwright Annette Loiselle and a group of equally accomplished women in the Edmonton Arts scene, Skirts Afire, is an upcoming theatre/arts festival that focuses on stories told by and for (but not limited to) women. Certainly looking around the room on Monday night I could see why this was a focus topic.  It was a great collection of female artists and art supporters in the space, come to find out what this was all about. it was a great event and we were treated to a visual art display, some poetry, a short reading from The Passion of Mary, as well as the musical talents of Andrea House.

The inaugural festival is set for March 7-10, 2013 and will be held in various locations on the Ave.  They group hopes to incorporate a variety of art mediums, including theatre, visual art, dance, and music. Still in the planning stages, programming has not been finalized, but the group is working on that and plans to bring an exciting mix to the community.  One thing is for sure, the stories shall reflect the voices of women.

In Edmonton's theatre scene, this certainly makes sense.  When I think about the number of power-house women we have to draw from, particularly in the independent theatre scene it makes me quite excited.  It is interesting to note that most of the major theatre companies in town (The Citadel, Shadow, Teatro, Theatre Network, Northern Light, Workshop West) are headed by men, and while their programming often takes into account the strength of the women in our city's theatre scene, it will be interesting to see what happens with this festival which is entirely female driven.  It has me personally and artistically excited as my own company, FinallySauces, has a mandate for telling women's stories  and I certainly write from a very female perspective (it's what I know).

A lot must go into creating a festival like this and the group is hoping to raise not only awareness, but funds, in a fundraising event tied to Loiselle's playwrighting debut, The Passion of Mary at Theatre Network this fall.  The September 8th, 2012 performance of The Passion of Mary will help support the cause.  A portion of the box office (20%) on that evening will go to Skirts Afire.  The performance will be preceded by a reception hosted by fellow committee member, Nadien Chu.

At this important stage in their development the group is looking for support in a variety of ways.  They can be contacted through their newly launched website.

SkirtsAfire Objectives

• To create a festival that empowers, celebrates, develops, supports and highlights women in theatre and other art forms.
• To create a platform for Canadian women’s stories and the female voice.
• To provide opportunities for women to take on directing, writing, designing, dramaturgy, visual arts and other art forms.
  Preference will be given to female artists but not exclusively.

Women continue to make less...

The other day was International Women's Day but statistics released indicated that women still make significantly less than their male counterparts. I am happy to say that although the jobs I get people to do are not compensated financially, I still look for the best person for the job regardless of their being male or female. This season, 4/7 of my Directors were female. I didn't really think about that when I was getting people in place. I am happy that it was more about the right person for the job. Next season, I have 5/6 being female. I am waiting to hear back on one position. I think it speaks to the fact that the best person for the job is not necessarily female or male. If you look at the submissions, the submitters were over-whelming female. The first season I think there were only 5 male submitters out of around 20 so that certainly impacted the selection.

I don't know if it happens as often in the paying theatre. Sure there is Marianne Copithorne, but I don't know a lot of other female directors who are directing for the semi-professional and professional theatres. I think Amanda Bergen is directing something in a semi-pro setting, but you don't really hear a lot about female directors.

A few month ago there was an article about female playwrights in the APN newsletter. I looked at a lot of things and still I only have one script in next season written by a woman. I hope to help change the availability of female written scripts! I think it is important. When we hold auditions the women outnumber men at a minimum of 3 to 1. The women outnumber men in the audiences. And yet, I hear disparagement of women's stories or stories with a woman as central figure. People write off 'chick-flicks' and 'kitchen sink dramas' (frequently with women as central figures) as less than the more glamorous male story arcs. Those stories are just as valuable and as important as stories about princes, businessmen, and soldiers and to imply that they aren't is a disservice to women.