Friday 16th October 2026 at York Theatre Royal
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Margaret Atwood’s The Penelopiad tells the story of Homer’s The Odyssey through the eyes of the long-suffering Penelope. While Odysseus’ genius and trickery naturally dominate the original tale, this show fits neatly into the “her-story” movement, highlighting the guile and sharpness of mind of the marginalised woman left to survive alone in a world built for reliance on men for protection. Her loyal, innocent maids are also given a platform here, demanding the recognition and respect they earned with their selflessness within the sphere of servitude. There’s wit and tragedy along the way, but this take feels most like a vindication for women not given nearly enough credit in Odysseus’ tale and feels akin to the very powerful Emilia by Morgan Lloyd Malcolm which so evocatively tells the tale of Shakespeare’s alleged mistress.
Penelope herself arrives as a quiet, understated presence. Amelia Bullmore plays the part with a strong sense of dignity, and does well to channel the vulnerability of the young Penelope new to marriage and the expectations arriving with it. Atwood’s writing is just as sharply insightful and layered as we would expect, and there’s a relatability and a sympathy established very early; it’s interesting to see how the appreciation of Penelope and the vindication of the maids become the joint driving force of the show.
The ensemble are an excellent bunch who smoothly move between a variety of roles to bring central and peripheral characters into being. One minute they’re innocent maidens serving their desperate mistress, then grotesquely aggressive suitors, then arching their backs for those with status. Danielle Bird is a standout for her excellent comic scenes as the bustling, exuberant Eurycleia the housemaid and does an fantastic job of throwing on those fleeting glimpses of distinct suitors. Faye Campbell and Nell Baker cut particularly sympathetic figures as the doomed maids while Charlie Russell and Kat Johns-Burke are impressive in their gravitas and presence as Odysseus and Icarus/ Antinous respectively.
Interestingly, director Juliet Forster brings the story of Penelope to the stage with an all- female cast and creative team. With such a powerful thread of female resilience at its core, it seems apt for this statement to be made, and it’s a well-produced piece. Designs from Sara Perks underscore the idea of Penelope being beyond the world of the living in what is essentially a white box set-up. There are elements that come and go which adds to the theatricality of key scenes and lighting from Alexandra Stafford brings focus to the shifting tones of the story – particularly when violence and tragedy are at the fore. Some of the best moments revolve around the weaving and unweaving scenes, with songs sung in beautiful harmony (composer and musical director: Kate Marlais) proving quite moving while reminding us of the innocence and good will of Penelope’s maids.
Forster favours nods to classic greek elements in the staging as well, with masks and music playing significant roles – and even a small but effective glimpse of puppetry. At times the use of shadow cloths add drama and haunting moments, and at others we teeter a little towards something that feels more contrived and not so impactful. As a whole though, the varied nature of the performance engages but also cleverly allows for the conjuring of a much larger cast than the literal one we see. Most importantly, we come away with a renewed sense of respect and indignation on behalf of the women at the centre of this story.
The Penelopiad is at York Theatre Royal until October 31st 2026 – more information and tickets can be found here.
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