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Review: Penelope (Underbelly Boulevard)

Review by Ruth Sealey


⭐️⭐️⭐️⭐️⭐️


I did not have to make an epic journey for my review tonight; instead, I travelled to see a new take on an ancient tale. Penelope at Underbelly Boulevard Soho has had a journey of its own this summer, arriving at the same time as Homer’s The Odyssey made it to the big screen, and I was intrigued to discover how this retelling of Homer’s epic would translate to the stage. After spending the summer playing to sold-out audiences and gaining impressive reviews at the Edinburgh Fringe, it seems only right that it continues its journey, travelling via London for a one-night performance before heading across the Atlantic to play in New York. Would this fresh perspective prove to be a journey worth making, or would I be left feeling lost along the way?



Set after the Trojan War, which saw Penelope’s husband, Odysseus, head off to fight for the return of Helen, we find her waiting at home for his return decades after he left. Her house has been overrun with suitors, who assume that Odysseus will never return and are determined to take his place. Penelope fights off their unwanted advances while yearning for Odysseus to return, finding ways to delay their demands as the years pass and her waiting seems endless.

 

With a book by Alex Bechtel, Grace McLean and Eva Steinmetz, this production places Penelope at the centre of her own story, reclaiming a character often defined by the men around her. Told through a cabaret-style setting, this is a fresh take on an ancient tale. As I approached the show, I wondered how Penelope would be portrayed: the loyal, pining wife or strong, independent woman? In fact, what develops is neither. She fits no stereotype, and this is a strength of the writing. Rather than conforming to our expectations, the writing creates a new version of Penelope: defiant and challenging all we thought we knew about her. Homer’s Penelope may be a character from thousands of years ago, but this writing gives her a voice today, and this production feels both ageless and timeless. One moment Penelope feels rooted in today, knocking back a whiskey and demanding her independence; the next she is a wife waiting on the beaches of Ithaca for Odysseus to return. To be current and ancient at the same time is a beautiful thing to watch unfold on stage.



Bechtel also gives Penelope its exceptional music and lyrics, making an impact from the very first moment. Penelope talks and sings, with the two weaving together so perfectly that it is sometimes hard to determine where the spoken word ends and the singing begins. The songs are acts of storytelling in their own right, with lyrics that build and soar with a purpose and focus. The music moves from jazz to pop and then into ballad styles that, at times, caught me off guard with the beautiful orchestration. The band performs on stage, becoming part of the story themselves, with Bechtel on keys, Jonnie Grant on drums and Anna MacLean on cello. They interact with Penelope, singing alongside her and even becoming the voice of Athena in a clever interaction.


Eva Steinmetz’s direction creates some stunning sequences and allows Penelope to claim the stage as a captivating presence. As the audience arrives, she is already sitting on the stage, giving us our first glimpse of her waiting for Odysseus. This sense of stillness and waiting returns throughout, with Penelope standing at the microphone to tell her story as she waits and waits for his return. Penelope’s movement is equally clever, with the simplest gestures placing her within the context of her story. A raised arm becomes the bed, a pose transforms into a wedding portrait, her left arm becomes day and her right arm night. Her hands delicately weave her endless tapestry, creating vivid images through movement alone. At one point, Penelope leaves the stage, making a somewhat frantic journey through the audience before returning to the stage to wait once more. Steinmetz creates a story, using both stillness and movement to deepen the sense of time, place and Penelope’s seemingly endless wait.



Grace McLean is sensational as Penelope and creates a mesmerising presence on stage. She is vulnerable yet strong, angry yet heart-breaking, comedic yet serious, moving between these contrasting emotions with apparent ease. The atmosphere is electric, and she demands the audience’s attention, giving the sense that Penelope may have been sidelined somewhat by history, but will not allow that to happen any longer. McLean executes Penelope’s movements with the fluidity of a dancer, with her expressive physicality perfectly matching both the words she sings and the emotions she conveys. Her voice is the perfect vessel to carry these songs, gentle as Penelope yearns for Odysseus, before growing in strength and power as she reclaims her own story. 


Underbelly Boulevard Soho is perfectly suited to create both the intimacy of Penelope’s home and is expansive enough to create the sense of the vast sea surrounding Ithaca. The lighting design is uncredited but is certainly worthy of a mention. Rectangular spaces at the rear of the stage give the impression of pillars in a Greek temple, illuminated in changing colours that blend seamlessly with the storyline to create a strong sense of time and place. Palmer Hefferman’s sound design further builds the sense of isolation, with crashing waves, falling rain and the echoing voice of Athena surrounding Penelope. 



Overshadowed for too long by her husband, if Penelope set out to give a voice to an untold story, then this has absolutely succeeded in its mission. Challenging what we thought we knew about her, Penelope brings something new to a centuries-old story through a stunning production with an outstanding central performance. Slick and clever, confident and emotional, this production left me wanting even more from her story. It feels like this journey is only just beginning for Penelope, and is one I sincerely hope continues for some time yet.


Penelope played at the Underbelly Boulevard Soho for one night only and moves to New York from December 10th to December 20th.


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