The Good Wife

The Penelopiad

In Greek mythology, Penelope was the Queen, the devoted spouse and the good wife of King Odysseus. When her valiant husband is called to fight in the Trojan War, the loving and devoted Penelope struggles against all odds, including hundreds of persistent suitors, to remain faithful to her husband for the next 20 years. Comforted and aided by her 12 faithful maids, Penelope struggles to remain a loyal, loving wife to Odysseus, to singlehandedly raise their defiant son Telemachus and to fend off the persistent advances of an army of admirers and wooers. In this new play, based upon the novella by the distinguished Canadian author, Margaret Atwood, we experience the trials and tribulations of Penelope, all presented from the woman’s point of view.

The prolific Ms. Atwood is known today for her feminist writing, especially her groundbreaking futuristic 1985 novel, The Handmaid’s Tale. But the recipient of hundreds of awards, honors and honorary degrees, not to mention devoted fans and adoring critics, began her novel-writing career back in 1969 with The Edible Woman. Many more novels followed, including The Robber Bride, Cat’s Eye and The Testaments. In addition, Ms. Atwood is the author of scores of non-fiction works, children’s books, short story and poetry collections, television scripts, libretti, E-books and audio recordings. But her 2005 novella, The Penelopiad, elevates and focuses on a minor female character from  Homer’s epic poem, The Odyssey. It relates the effects of varying storytelling perspectives, the fairness of justice and, especially, the double standards between the sexes and classes.In 2007 Margaret Atwood’s adapted theatrical production of her novella was performed at Stratford-upon-Avon by an all female cast. And now, beautifully directed by Goodman Artistic Director Susan V. Booth, the Chicago premiere of Ms. Atwood’s feminist retelling of this Greek classic finally plays the Windy City.

The author describes her script for THE PENELOPIAD as a cabaret. It’s closest in form to the works of Bertolt Brecht and Kurt Weill, in which there are spoken scenes interspersed by musical numbers. But, she insists, it’s not a “musical.” It’s smaller, more like a chamber piece. And, of course, in true Atwood tradition, the author chooses to center her work around all the women. 

Like an ancient Greek tragedy, there’s a leading player. In this case it’s Penelope, as portrayed with passion and pluck by Jennifer Morrison. Known primarily for her work on TV and film, the Arlington Heights native appeared in THE MIRACLE WORKER at Broadway’s Circle in the Square Theatre, among other stage performances. Ms. Morrison makes Penelope absolutely relatable and fun, portraying the queen as both classical and contemporary in style. 

Penelope is backed and greatly supported by a chorus of a dozen multitalented young women. These Chicago actresses portray multiple roles, but primarily they play Penelope’s 12 devoted maids. They must be named because they are each equally brilliant and so essential to the production. They include (in alphabetical order) Aja Alcazar, Demetra Dee, Maya Lou Hlava, Noelle Kayser, Elizabeth Laidlaw, Helen Joo Lee, Tyler Meredith, Ericka Ratcliff, Andrea San Miguel, Laura Savage (who also serves as Dance Captain), Allison Sill and Hannan Whitley. Playing both male and female characters, such as Penelope’s husband Odysseus, their rebellious son Telemachus, the beautiful Helen of Troy, Odysseus’ patronizing mother Anticleia, his snobby nurse Eurycleia and all of the suitors, these twelve actresses are the backbone of this production.

Visually, the production is stunning. Upon entering the gorgeous Albert Theatre, theatergoers are taken by Neil Patel’s simple, but elegant scenic design. Dramatically lit by Xavier Pierce, the stage is dominated by a vast series of steps, reminiscent of the ancient Greek amphitheaters. They’re backed by a massive curtain constructed of thick string or cords that appear like a solid drapery of fabric. Only when the 12 maids enter as one chorus does the audience fully appreciate the construction of this drape suspended upstage of the stairs. Finally, we notice Penelope, a lovely young woman clothed in an aqua dress, seated alone and quietly surveying her domain. She will serve as the narrator and main character of the story.

In addition to Susan V. Booth’s miraculous direction, the production features Choreography by JoAnn M. Hunter, Musical Composition by Samuel Davis and Musical Direction by Jeremy Ramey. And Kara Harmon has not only designed and created Penelope’s breathtaking gown, but also a large number of costume pieces and masks that easily transform the twelve chorus members into the other characters.

The two-act play is filled with humor, violence, spectacle, drama and comedy. Not only does Jennifer Morrison shine as Penelope, the good wife, she provides her opinions on other characters, clarifies historical misconceptions and sets the story straight that Homer told in The Odyssey. In between, the 12 Maids also speak and share their point of view. They pine for their freedom, lament their lost childhood, complain about the upper class characters who control their lives and even dream of being princesses. Interspersed with songs, dances and many inventive and playful moments, this magical, mesmerizing production makes a fantastic way to kick off Women’s History Month.      

Highly Recommended

Reviewed by Colin Douglas

Presented March 3-31 by Goodman Theatre, 170 N. Dearborn, Chicago. 

Tickets are available in person at the Goodman box office, by calling 312-443-3800 or by going to www.GoodmanTheatre.org.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.