- Penelopiad Blog

The Penelopiad has been a very special process and privilege for me. I love telling this story with this cast, this director, and this entire crew! It has allowed us to give voice to characters that have been neglected throughout the history of this entire story. Penelope is referred to as the devoted wife to Odysseus, who remained faithful to him while waiting 20 years for him to return to her after the Trojan War. There is not much more than that about her and the maids. However, Margaret Atwood was sure there was more to the story. What was it like for Penelope? What was it like for the maids? What were they to each other?

During this time, everything in a kingdom was the King’s property, including his Queen. Any behavior of hers must be in line with his desires. If not, there would be consequence. Living within those tight parameters must have been stressful at the least. The maids were born as property and did not have much choice in their destiny. Penelope was born as royalty and did not have much choice in her destiny either. Despite their lineage, they were all women. They were owned. Women then (and now) learned to find their own way of surviving, and they did so by finding each other. The relationship that forms between Penelope and her 12 favorite maids is the most beautiful and heartbreaking part of this story for me. Sure, at the beginning the maids ‘like’ her because she is the Queen, and have to do so. And sure, Penelope is extremely lonely at the palace in Ithaca and would make friends with anyone just to have companionship. But when they all come together in secret to execute Penelope’s clever unweaving scheme late each night, it is inevitable that bonds are formed. They are able to relax among each other and really be themselves. Penelope begins to see the maids as real people, as individuals with actual names and personalities. The maids also begin to see Penelope as a real person, as a woman not so different from them. In spite of their class differences, they soon realize in their hearts that they are not so separate from each other. This kind of relationship among Queen and maids was unheard of, even forbidden. Yet somehow they become trusted friends. Staying up late with friends working on a project, or just talking, laughing, drinking, cracking jokes is a magical thing. It breaks down preconceived ideas about the other. It solidifies relationships. And, it is just a good time.

**Spoiler Alerts Below**

As we know, ‘all good things must come to an end’. Odysseus returns and turns everything upside down. He punishes and murders all of Penelope’s potential suitors who are squatting on his property, and hangs her favorite maids who he believes have been unfaithful to their responsibilities to his estate. He does this without even asking Penelope about it. She does not get to tell him the real story and set him straight about the maids and their devoted service. He doesn’t even ask her. He can’t be bothered with her. Instead, he slips something in her drink so she will sleep through it all. She wakes up to discover that all of her friends are dead, and she wasn’t able to do anything about it. She is heartbroken. She knows these girls well. She knows they must have been looking for her while ropes were fastened around their necks. She imagines what they felt like at the moment when they finally realized that she was not coming for them. Betrayal by a trusted friend stings on a deep level, and she knows that even though she did not know any of this happened until she woke up from a drugged sleep, she is still to blame. She promised the maids that she would protect them, and she wasn’t able to keep this promise. She lives with this guilt for eternity. The maids will never know that she was drugged. They know they were betrayed, and they live with this disappointment for eternity.

So, yeah. It doesn’t end on such a high note! But the point is that all of these women finally have their say. Good or bad, they get to voice their thoughts and feelings about their own experience in this story. They get to tell the world that they are much more complex and rich and full, and deserve more attention in this story than simply the identifier of ‘maid servant’ or ‘faithful wife’. Margaret Atwood felt there is much more to them. I agree. In fact, there is much more to all of us, and for better or for worse, each of our stories deserve its moment in the sun.
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MJ is thrilled to be working with the Lost Geneva Project and this talented group of people! She is grateful to have performed with amazing theatres throughout Chicago including: Signal Ensemble, WildClaw, Mary Arrchie, New Leaf, Right Brain Project, The Nine, Lifeline, Provision, Trapdoor, Akvavit, Timeline, Jackalope, Second City National Touring Company, Annoyance Theater, ComedySportz, and her own –WNEP and Knife & Fork!

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In the end, we'll all become stories

2/12/2015

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    So often society assumes that its people do not want to hear the stories of the oppressed. That these stories are too depressing or uncomfortable, and we would rather hear a story about a successful hero. But it is within the struggle and the overcoming of obstacles that we see the humanity in our characters. Even if the character’s story ends in their imminent demise, it’s their perseverance that we all cling to and root for.

    You see, women are and have always been barred from the hero’s journey. Our stories do not always end in triumph, and are closely woven together with stories of the oppressed. But this intricate web of trials which we have worked to overcome is what makes a great story.

    I’ve been working for a little over a year now on spending most of my free (and not-so-free) time investigating all-female created narratives. I run a feminist arts empowerment program for adolescent girls called {she crew}, which is, in essence, devised theatre for girls. We give them the tools to express themselves and tell their stories in new and creative ways for an audience. My students are at a difficult age when they are putting their authentic selves aside and giving into societal pressures. But through working with them I have learned that they have much more wisdom and insight than most adults give them credit for. My students are around the same ages as some of the maids in The Penelopiad, and while so many things have changed since ancient Greece to present day, there are still many parallels to be drawn. Much like the characters in the play, they are witty, tactful, and smart. They find the humor and joy in daily tasks. They are also subject to a class system, much like the Greeks were subject to a class system, and because of their gender and their ages, they are taught that their stories are not those of value. Because they are middle school aged girls, their tragedies are not seen to be as important as those of an adult’s tragedy. But everyone’s stories and tragedies deserve respect, and deserve a platform.

shecrew is run byThe Penelopiad's Meredith Montgomery and Jessica London Shields

So, when Erica emailed me and asked me to audition for The Penelopiad, of course I dug it. You mean I can continue to investigate female stories through performative and collaborative arts?
UM YES, THANKS.

When we delved into Margaret Atwood’s telling of this story I felt so exhilarated to be part of a community that had the privilege to bring these narratives to life. Though the maids in The Penelopiad are fiction, they are representative of real women whose stories were never told. Their need for a platform on which to tell their stories is so justified, and yet, still lacking air time. Even within the form of The Penelopiad, the maids are seen but rarely heard, showing in metaphor the silence and anonymity imposed upon them.

This play gives voices to those who needed one, but it also clearly shows the class system in which we still function today. I feel that The Penelopiad as a written piece and as a theatrical creation is one that is challenging what we deem as a worthy and worthwhile story to tell, and I am so proud to be a part of it. We all want to be remembered for something great, but what we cannot forget is it is our humanity that will proceed us. We just need to be working harder to allow for the airwaves to be shared evenly.

Meredith Montgomery is super stoked to be a part of Penelopiad! Some of her regional credits include Who’s Afraid of Virginia Woolf, and A Lie of the Mind (Mary Moody Northen Theatre), Murder on the Nile (Peninsula Players), and Blue/Whitney (StageLeft). She also has recently given a TEDx talk on the importance of being a badass feminist.

Meredith is the Co-founder and Program Director of {she crew}, a feminist based artistic empowerment program for girls in Chicago. You can find out more at shecrew.org!

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Stepping In

2/5/2015

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    As some one who was not a part of the original production of 'The Penelopiad' and was unable to see the first incarnation of the show, there were quite a few nerves stepping into the world of the play. I diligently studied this blog to find clues of what would lay ahead (thanks Erica for the photos and entries) and created my idea of what was to come - Ballet classes! Movement workshops! Musical creations! ALL OF THE GREEK KNOWLEDGE! All the glorious time to create!!!

    Needless to say, my mind tricked me to forget we only had two weeks until opening until midway through the second rehearsal. Remounts are a very different beast.

    In one way, it is terrifying to be a newbie in an ensemble who has such a history of the work. So many helpful tidbits are being relayed of what happened during the first round that you struggle to marry every last thing you're hearing at once. Word of warning: this may cause feelings of panic and reactions of kicking yourself about why you weren't able to see into the future to tell your old self to go watch the play you had no idea was happening last summer.

    But there comes a moment when you flip to the other side. When you find peace in the ignorance that you can't compete with the past production, because for you, there is only this one. Even more, you're lucky because since so many of the other actors have that history with their characters it gives you the ability to make snap choices and gut responses. You have the glorious opportunity to just react with what you're seeing and receiving, because there's no time to think about your choices - you open in four days!

    When we opened three Monday's ago, of course there were nerves, but as I sat curled up in the stage manager's box I felt completely at peace. I knew despite what little time there had been to get 'The Penelopiad' to that night, we all were connected to protect each other and to play with the choices we received from one another. In just a short time we had built a trusting ensemble of new and old players - and what a glorious ride it has been!!

Grayson Heyl is thrilled to be joining the Lost Geneva Project family with this reincarnation of The Penelopiad! Since receiving her degree from Oklahoma City University in Music Theatre and Vocal Performance, she has worked with Oklahoma Shakespeare in the parks (Henry V, Macbeth), Montana Shakespeare in the Parks (Henry V, The Recruiting Officer), Northlight Theatre (Tom Jones), Light Opera Works (Damn Yankees), and most recently with Oracle Theatre (The Jungle) and Piccolo Theatre (The Love of Three Oranges). Many thanks to LGP for this wonderful opportunity, as well as her family and friends for all their love.

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To Remount

1/29/2015

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Assistant Director Lexi Saunders, interviews Director Erica Barnes, Dance Choreographer Sheena Laird, and Music Composer and Director, Joshua Dumas on what it took to remount 'The Penelopiad.'

    What does it mean and what does it take to “remount” a show? I’ve spent a lot of time thinking about that question in the past month because as a young actor/director I have never remounted a show before. When it was announced that we would get to remount The Penelopiad at Rhino Fest and The Poetry Foundation, I was so excited to see how this show could further develop but I had no idea what that process would actually look like. At first, the possibilities felt endless because we already had a great show on our hands and now we got to make it even better! Then I looked at our rehearsal schedule and realized we only had two short weeks to completely transform the show to fit the new space and five new cast members. Moving from a theater-in-the-round venue at Chicago Fringe Fest to a proscenium stage at PROP Theater meant almost all the blocking and choreography would have to change. I was excited about the changes but the thought of starting over felt overwhelming.

    Now a month later, I must say I am incredibly proud of this show and all the changes it has undergone. All the moments and elements that meant the most to the cast, creative team, and audiences are still there and pushed even further than before. Things we weren’t perfectly happy with the first time around, we got to tweak and fix or completely scrap. How many times do you open a show and wish you had more time to do all those things?! The freedom, challenges, and improvements it allowed us were beyond rewarding and I think it will be equally wonderful for audiences who saw the original run at Chicago Fringe as it will be for newbies!

    So I was curious to hear about the experience of remounting this show from the perspective of our insanely talented creative team: Director Erica Barnes; Dance Choreographer Sheena Laird; and, Music Composer & Director Joshua Dumas. I decided to interview them about their inside perspectives of what it took to remount this show because this is a director, a choreographer, and a music director who all poured every ounce of their hearts into this show the first time and now somehow they have poured even MORE.                                                                                 -Lexi Saunders

Photo by Dani Bryant

Going into the remount, what did you want to
change, adapt, or improve about the show?

ERICA: Joshua Dumas and I were actively looking for other opportunities to remount the show. The creative team and cast from the original production were interested in extending the reach of the show beyond the 200 people we were able to perform for at the Chicago Fringe Festival. I was pursuing a few different theatres and the Poetry Foundation when we found out we were accepted into the Rhino Fest and we could not have been more excited. We knew early on the physical space of the theatre at PROP THTR would be very different from the dance space we performed in at CFF. So, one of the biggest changes that presented itself, out of necessity, was responding to and restaging the play in a new space. This task, though quite ambitious for a two week rehearsal process, felt less daunting when 9 of the 14 original cast members agreed to join the remount. More than half of the cast would already be invested in and very familiar with the story.

Artistically, I knew I wanted to make some changes to the way we handled the Oracle, Naiad Mother and Suitor characters. I wanted the larger group movements to enhance the bigness of these characters. Genevieve Lally-Knuth and I met over the holiday break and rolled around together on the floor or her studio and sort of rolled into the shapes of the Oracle and the Naiad Mother reveal and then we got into rehearsal with the girls and none of it worked! But that is sort of the beauty of pre-planning large movement sequences and then getting into the room with real human bodies and reshaping and listening to new ideas to make something new. Genevieve and Jabu Mickle-Molefe continue to make up the main unit of the Oracle, but all twelve maids are now integrated into its reveal. The Naiad Mother appears onstage out of a giant crest of a wave of maid bodies. It’s really lovely what we made. The biggest change I wanted to make was with the Suitors. Genevieve and I were really able to dig into this in her studio because we decided to make the number of people involved in the suitor scene smaller and we knew integrating Brittany Ellis into the main body of the suitor entity was one of the best things we could do, not only to tie her character to more scene work, but also because she has such an incredible physical and mask background.

SHEENA: I think many artists close projects thinking they would change certain things or make different choices if they could, so I was really excited to have that opportunity. Most of the gigs I get as a choreographer are for individual, stand-alone dances. So when I started creating movement for the songs composed for the show, I found myself thinking of the imagery we wanted to achieve and listening to the song as an isolated story, not as a moment within a larger story. And when we plugged the dances in to the show, they felt a bit removed or disjointed from Penelope's monologues.They were cool individual pieces, but I didn't feel they fit in to each character and actor's journey, nor the larger story being told.

So with the remount, that's something I really wanted to focus on. Why are the maids singing this song at this time? What are they saying to Penelope and the audience? What imagery would heighten and communicate that? What does my character want to do in this moment?

I also had to think about how these poems and songs would look in the new space. We had this cool second level to play with throughout the show, so how could we use that to demonstrate the presence of the maids? I also wanted to be sure to use the many entrances available at Prop Thtr to add to that omnipresent sensation of being haunted by more than one being.

JOSHUA: There is just never enough time, so I was thrilled by the opportunity to mess with these songs again. I feel like I’m pretty decent at creating lovely music and creating strange music, but I really struggle with angry music. I knew going into this remount that there were two songs in the show that I didn’t quite get there at Fringe; this time I knew I wanted to push to find their volatile core. With the help of Erica’s and Sheena’s choreography, I think those moments now do feel truly dangerous.

I also delighted in making new discoveries with this cast. So much of this music has relied upon the input, thoughtfulness, and collaborative generosity of the performers. I love that moment in the rehearsal room when someone just tries something, or offers a new idea, or pushes me to revise, and then that just becomes part of the song forever. There were a handful of those moments -- things I hadn’t planned to revise in this remount but that made the songs richer ‘cos our cast is brilliant and brave.

Photo by Lauren Sudbrink

What was your biggest challenge in the remount?

ERICA: The biggest challenge to this remount was most definitely our lack of time in the PROP THTR space. At CFF we knew the audience would be in the round, so creating a play to be viewed from all sides was fairly easy to create and then transplant to the dance space. PROP, however, has a balcony, entrances, exits, staircases and is a bit more of what Brittany called a “semi-treacherous space.” It was extremely difficult to know what traffic patterns to expect when, in rehearsal, a doorway was represented by a piece of tape rather than a narrow frame through which 12 women have to file through.

A personal challenge for me, as a director, was the constant feeling that I possibly wasn’t supporting my new cast members (Elizabeth Bagby, Mia Vivens, Jessica London-Shields, Grayson Heyl, and Brittany Ellis) with as much richness, dramaturgy, or character support as I felt I was able to give to the other gals over our long building process in the summer for the CFF. They are all incredible performers, super smart of mind and body, and so delightful to work with, I think we were always on the same page, but I wish I’d had a bit more time to explore and answer more questions. I had to kind of be like, ok, (pushes actors onto stage) SWIM!

SHEENA: Oh man. Time. I always want more time. I'm such a perfectionist because most of the improvements I made as a dancer and choreographer were in the dance team world and there, precision and unison is key. I have also spent a lot of time teaching beginners, so I always want to spend more time breaking down weight changes and specific elements of movements and steps so that the performer executes the movement properly and confidently. I joke that I have to remember we're not going to nationals, I'm providing blocking for story telling. Fun, rhythmic blocking, but blocking. And the thing is, I LOVE seeing dances performed by really distinct characters who interpreted the same movement differently. It's so satisfying, even if the whole group isn't lifting their arm on the same exact count, it looks really cool. So I promote and support open interpretation of the movement when I'm teaching, I just have to remind myself once in a while not to slip back in to dance team mode and remember I have 20 minutes to teach the whole dance so I gotta keep moving!

JOSHUA: Time. It is always time. I wish I had an extra month with this genius cast and creative team to keep poking at these songs and making them better.

What are you most proud of in this remount?

ERICA: I’m so proud and grateful to have the creative team on board through both remounts. Josh, Lexi Saunders, Sheena Laird and I all met back in December after everyone agreed to come back on board for the remount and every single person had ideas and absolutely no ego about how to make the show better. We loved the show we created at CFF, but we knew we had an opportunity for growth and we took that opportunity. Sarah Coleman, our mask designer and costume designer Carla Hamilton were also able to provide needed fixes to a few of the masks and costumes, as well.

I have wanted to produce and direct this show for many years and while I am so pleased with the actual show we have created, I can’t get over how much we all really like and support each other. Fourteen actresses and seven creative team members is a large number of ideas, brain power, creativity, and ego to manage. But everyone seemed to continue to bring the love and support for one another time and time again- in both the original and the remount. It’s a good feeling to have in the room.

SHEENA: I have to say my heart sang when some of the actresses (and many of the creative team members!) said "I really like they changes. They feel right for the story." It felt like I had used my second chance well. My pride and joy is definitely the changes we made to the Wily Sea Captain song. That boat we make is so cool!

JOSH: Oh, I couldn’t pick one thing. I’m proud of the whole show. Drama, dance, and song, all in the service of this wildly smart feminist (and arguably marxist) retelling of the Odysseus myth, performed, directed, and designed by a cadre of wise kindhearted collaborators. It pretty much doesn’t get more rad.
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Lexi Saunders is a director and actor from Los Angeles who recently relocated to Chicago. Her directing credits include Hello.Goodbye (Company 157), But a Walking Shadow (Underground New Play Festival), Sister Mary Ignatius Explains It All For You (Fullerton Theatre Festival), Spooky (AD - Steppenwolf West), and Little Children Dream of God (AD - Baldwin New Play Festival). Some of her acting credits include Medea (Theatre Y), The Pillowman (Company 157), Wintertime (UCSD), and Noises Off! (El Segundo Players). Lexi received her B.A. in Theatre & B.S. in Behavioral Psychology from the University of California, San Diego.

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OPENING NIGHT at Rhino Fest

1/22/2015

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Lost Geneva Project's 'The Penelopiad' by Margaret Atwood is OPEN! My BFF and art partner (artner?), the one and only Dani Bryant snapped a few opening night photos for me, and you, dear audience! They are simply gorgeous and we can't wait to see you at the show!

Lost Geneva Project
The Penelopiad by Margaret Atwood
PROP THTR/Rhino Fest 2015
3502 N Elston Ave, Chicago, IL 60618

Tickets prices are $15 or pay what you can at the door • $12 in advance online

Monday, January 26th at 7pm
Monday, February 2nd at 7pm
Monday, February 9th at 7pm
Monday, February 16th at 7pm

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Inspired Art

1/15/2015

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Cast member Genevieve Lally-Knuth's incredible fiance, artist RoK Teasley, painted the incredible poster you see below based on our summer run of 'The Penelopiad' by Margaret Atwood at the Chicago Fringe Festival. The image is absolutely stunning and we could not be more honored to have our detailed likenesses captured in this incredible piece of art. Thanks RoK!

Psst! We open Lost Geneva Project's The Penelopiad by Margaret Atwood THIS Monday, January 19th at 7pm. Join us!

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We'RE Baaaaack!

1/9/2015

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On December 16th, 2014, old friends and new friends-to-be reunited on the familiar green astro turf of our beloved rehearsal space to begin the process of remounting Lost Geneva Project's
'The Penelopiad' for a run at the Rhino Fest and a weekend at the Poetry Foundation!

In this photo, Sheena is so excited about rehearsals, she "literally, can't even." #hamburger #earmuffs

Joshua Dumas has kept the music somber and lovely, but we've changed a few of the tunes and we can't wait for your to hear them sung by our new voices: Grayson Heyl, Mia Vivens, Jess London-Shields, and Elizabeth Bagby. Them chicks can saaaaang!

You can't hear it, but they sound LOVELY!

In our new proscenium space at the PROP THTR, Sheena Laird, our choreographer, has been given permission to "MUSICAL THEATRE (ALL CAPS)" the hell ouy of our song 'Wily Odysseus' and guys...she totally did. She made you a boat! Plus some other stuff you will have to come see in the show!

I've said 'Cheer Mom' and 'Pom Squad' more than I ever have in my life.

Finally, our GENIUS Assistant Director, Lexi Saunders created a brilliant system as a means for blocking 14 bodies in space! How did we even make it through the original show without this?

Look at them! They are so cute!

Don't forget to join us at the Rhino Fest when we open on Monday, January 19th at 7pm, dear audience! We can't wait to see you again! Or for the first time!

Love,

Erica Barnes
Director, 'The Penelopiad'
Founder, Lost Geneva Project

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The Penelopiad Remount cast

12/8/2014

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ATTENTION! HELLO! PLEASE LOOK AT ME! I HAVE AN ANNOUNCEMENT REGARDING FIVE NEW VERY TALENTED ADDITIONS TO THE PENELOPIAD CAST!

Ok. I have your attention now, I see. I may be able to stop shouting, though it is HIGHLY UNLIKELY seeing as how these 5 incredible actors have agreed to join our show!

Lost Geneva Project is so pleased to welcome
(in order of photos, top row L to R, then bottom row L to R):

Brittany Ellis as Odysseus/Eurycleia
Grayson Heyl as Melantho
Elizabeth Bagby as Alecto
Jess London Shields as Klytie
Mia Vivens as Phasiana
Rhino on top of the world as the logo for the Rhino Fest

These five incredible women will be joining the following returning cast members:

Mary Jo Bolduc as Penelope
Jabu Mickle-Molefe as Oracle/Tanis
Sheena Laird as Helen/Zoe
Tamara White as Naiad Mother/Selene
Danielle Trudeau as Telemachus/Celandine
Katya Schexnaydre as Narcissa
Carolyn Sinon as Chloris
Meredith Montgomery as Kerthia
Genevieve Lally-Knuth as Iole

We start rehearsals this week. Don't worry. I will DEFINITELY be posting photos of all of this goodness.

=)
Erica Barnes, Lost Geneva Project Founder
Director for Margaret Atwood's 'The Penelopiad'

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The Penelopiad Cast Recording

10/10/2014

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On a sleep Sunday afternoon, less than a month after we closed The Penelopiad at the Chicago Fringe Festival, we met composer Joshua Dumas at Pieholden Suite Sound to sing our heartsongs one more time to capture the music in a cast recording.

Lost Geneva Project's
The Penelopiad by Margaret Atwood
Music Composition by Joshua Dumas
Cast Recording includes:
Jackie Davies, Lynnette Li, Tamara White, Carolyn Sinon, Sheena Laird, Erica Barnes, Nelia Miller, Meredith Montgomery and Genevieve Lally-Knuth
Recorded at Pieholden Suite Sound, Chicago IL

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Penelopiad Supporters

Let Her words have wings...

In the end, we'll all become stories

Stepping In

To Remount

Going into the remount, what did you want to
change, adapt, or improve about the show?

What was your biggest challenge in the remount?

What are you most proud of in this remount?

OPENING NIGHT at Rhino Fest

Inspired Art

We'RE Baaaaack!

The Penelopiad Remount cast

The Penelopiad Cast Recording

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Going into the remount, what did you want to change, adapt, or improve about the show?

What was your biggest challenge in the remount?

What are you most proud of in this remount?

Archives

Categories

Going into the remount, what did you want to
change, adapt, or improve about the show?