During my early years at UBC, I fought with a lot of pressure coming from different places on the merits of an arts degree in the real world. It speaks to the larger issue of how art, literature, creative writing, theatre, music and so on can contribute to society. While some folks are more inclined to write these off as ‘hobbies,’ I think it’s pretty obvious by now that these areas help us to communicate the human experience beyond numbers, reports and dry facts.
The Original Desperate Housewife
The Arts Club’s current production of The Penelopiad is the perfect example of how the arts and modern-day life can intersect, helping us to further understand our world.
The Penelopiad is Canadian writer Margaret Atwood‘s take on the famous tale The Odyssey. In Homer’s original story, Odysseus, the Greek king of Ithaca, spends a decade fighting the Trojan War and spends another decade finding his way home. Atwood’s version, however, explores that same 20-year time period but from the perspective of Odysseus’ wife, Penelope, who waits at home in Ithaca. While Odysseus is known for his resourcefulness, Penelope must also channel that same quality to fight a very different war on home turf.
After Odysseus’ departure, the young girl is quickly thrust into control of the household. Following the death of her in-laws, she must also learn to cope with the aggressive affections of suitors and the difficulties of raising a son. Luckily, she has in her company 12 young and loyal maids who help her to weave a tricky lie to fend off the suitors. The disastrous result, however, is heartbreaking and wreaks guilt even on the hearts of audience members who watch helplessly as the tragedy unfolds on the lives of the maids.
Unbeknownst to me, my season tickets happen to land on Talkback Tuesdays of each month. It’s always an interesting experience to hear from the actors themselves.
One of the questions posed was about the modern-day relevancy of The Penelopiad, a play of war, abandonment and traditional cultures. Meg Roe, who plays Penelope in an achingly beautiful and hauntingly graceful manner, responded with the suggestion that Atwood’s play gives a voice to the unheard. (NOTE: I’ve since been corrected that it was actually Dawn Petten who brought up the connection with the Missing Women Inquiry.) She believes that the play is highly topical today and specifically noted its connection with the Missing Women Comission of Inquiry currently taking place in Vancouver.
Missing Women Inquiry
The inquiry, which explores why so many missing DTES women were left uninvestigated during the Pickton era, has drawn national attention, both positive and negative. If you’ve driven through downtown Vancouver recently, it’s possible you’ve encountered protesters who are unhappy with the way those cases have played out, demanding justice for their fallen sisters.
While The Penelopiad certainly doesn’t address those issues directly or in detail, I believe it helps by voicing concerns about those who deserve and seek justice. The play itself is about giving a voice to the voiceless, telling the other side of the story; it brings light to those who can’t plead their own stories. Just as the Missing Women Inquiry hopes to hear the families of victims who have long been left in the dark, The Penelopiad shares the other side of the story and explores how a different kind of battle occurred while Odysseus was away. The play is really about finding justice for those who’ve been wronged.
In retrospect, many aspects of the play may have struck me differently if I’d approached The Penelopiad with the Missing Women Inquiry in mind. A week later, I find myself still turning over and over the different conflicts and issues the play brought to light, examining them through the filter of its modern-day connection.
Despite the morbid nature of the play’s outcome, the cast does a stellar job of playing out the seductively eerie storyline. The choreography and movement add another layer to the story and stretches the audience’s imagination into the wildest, most terrifying places. That credit goes to Denise Clarke, the play’s movement designer.
While Atwood does not state a preference on the makeup of actors, The Penelopiad is commonly played with by an all-female cast, with many doubling up on various roles. Roe addresses the audience as her story’s narrator, candid at times and often casual and relatable. So realistic is her retelling of the story, however, that when she fears for her life, we also feel the same grip on our throats. Colleen Wheeler also deserves mention, doubling as a maid and as Odysseus, realistically commanding and assertive as the king of Ithaca.
There’s much to be said about good chemistry within a cast but The Penelopiad is one example where there’s an obviously high level of trust between the actors. Some of the play’s key moments are difficult to watch and likely heartwrenching for the actors to perform but it’s clear the cast wholeheartedly believes in the words they speak, in their armstrokes and in every step.
The Penelopiad plays until Nov. 20, 2011 at the Arts Club’s Stanley Theatre. Tickets are still available and can be purchased at an Arts Club Theatre box office, by phone at 604-687-1644 or online at www.artsclub.com.
Featured Photo: Meg Roe as Penelope in the Arts Club’s production of THE PENELOPIAD. (DAVID COOPER PHOTO)