Step aside Odysseus, Penelope’s story is here. York Theatre Royal puts women firmly in the spotlight with The Penelopiad, a production at home in a city steeped in such rich history.
As box office sales soar for the new Odyssey film, there’s no better time to bring Penelope’s side of the story to the stage. Long anticipated due to its original pre-Covid scheduling, this production sees Margaret Atwood’s writing burst into life, as we are drawn into a world of longing, duty and service.
Amelia Bullmore is our Penelope, a stoic, omniscient presence, who recounts her life from the depths of the afterlife, in a hauntingly fluid storytelling. ‘Now that I’m dead, I know everything’ she declares in her opening monologue, a statement that sets a tone for a woman who’s had a spiritual eternity of reflection.
Bullmore navigates the complexities of the character with ease, shifting between profound wisdom and moments of vulnerability, as the story demands and engulfs her physical presence.
Completing the cast were her loyal, multi-roling maids, whose performances deliver the depths of this heartbreaking tale. Weaving seamlessly in and out of the narrative, they breathed life into each layer of the tale, with their distinctive presence.
Nell Baker’s beautiful vocals lead to some of the most harrowing musical moments, Charlie Russell embodies our masculine prodigal Odysseus masterfully and Kat Johns-Burke delivers an intensely assured Icarus and Antinous. The versatility and agility of the cast make this piece feel accomplished.
And their playground is a blanket of white, a deceptively simple design choice that initially suggests cleanliness and purity before the narrative descends into inevitable destruction. As each event unravels, the stage hosts a circus of the unimaginable; shadows dance disturbingly behind draped linen, whilst fly-ins fill the space unloading chaos into the characters’ world. It enables a visual transformation which highlights what can be achieved when minimalism and imagination converge.
This open space allows director Juliet Forster freedom for her creative vision to flourish, with movement director Michelle Edwards helping to shape the central focus of the visual storytelling. The result of which is a visual delight, with Kate Marlais’ diverse compositions adding another layer of creativity. Each decision feels carefully considered, working in harmony to create a fluid account that carries the audience through each shift in tone.
With an all-female cast and creative team, the heart of the tale was always going to be the women, while each male portrayal was frequently reduced to the role of the fool. The cast leans into this, which enables humour to thrive amongst the serious undercurrent of the story. Danielle Bird is a particular highlight, as her comedic excellence thrives in each role she takes.
The Penelopiad
Yet beneath the comedy and spectacle lies a story with an uncomfortable resonance. At a time when headlines expose the consistent mistreatment of women, The Penelopiad feels more relevant than ever. Its darker themes rarely allow audiences to come up for air, confronting the consequences of these voices and stories, refusing to overlook the suffering. Great theatre rarely shies away from these brutal truths and this production understands entertainment and discomfort can absolutely sit side by side.
Forster and company have created a feminist retelling that balances wit and poignancy with real confidence. By giving Penelope and her fellow women space to reclaim a male-dominated story, it offers a fresh perspective on a familiar myth; perhaps we may even reconsider our own favourite tales, and reflect on who may have been left out of them.
A compelling and thought-provoking production and a must-watch this season, secure your tickets at the York Theatre Royal website.
The Penelopiad runs at York Theatre Royal untilSaturday 31 October. Tickets start from £15.