Displaying items by tag: Susan V Booth

“The Penelopiad” is a zesty romp and very entertaining. With a script by a writer I adore, Margaret Atwood of “The Handmaid's Tale” fame, and based on her novella by the same name, it tells the story of Odysseus’ wife Penelope (played stunningly by Jennifer Morrison)—and how she occupied herself during the long odyssey recounted in Homer’s Greek epic poem, “The Odyssey.” I had recently finished reading a new translation so that story was fresh on my mind.

Of course, this being Atwood, it is a reset of the tale, told from the woman’s point of view. And it is very scholarly, perhaps a bit cerebral in the first half, relating in more detail than Homer’s work the origins of Penelope, and how she ended up married to Odysseus, the King of Ithaca. We also see what life was like in the palace from Penelope’s perspective, and that of her dozen maids.

Odyseus went off to fight in the Trojan War. He was gone such a long time, 20 years, that princes of his realm presumed him dead, and vied to marry his supposed widow Penelope, and claim the throne. As the years wore on, they didn’t behave nicely—living on the palace’s largess and hitting on the maids relentlessly. It was an unapologetic patriarchy, to be sure.

In Homer’s version, Penelope is celebrated for being steadfast and true. And Atwood gives us this too, but without the male gaze. Penelope constantly thwarts and outwits the obnoxious suitors, and her corps of maids switches genders and roles to show what that was like. With an all female cast, and set with frequent music and dance, “The Penelopiad” relates many of the high points of the original poem. The first act, then, is a recitation of the Odyssey revisited.

Without question, “The Penelopiad” under the direction of new artistic director Susan V. Booth gives the best ever and very understated caricature of male behavior by women actors: the boasting stance, the lack of self-awareness, the entitlement, and the varieties of ways this is displayed by classically awful male personality types. It’s a bracing and edifying experience for a man to see.

This corps of maids also plays identifiable characters (though not credited in the program): the growing Telemachus, evolving from whiny teenager critiquing his mother Penelope’s behavior, to self-empowered accomplice when his father does finally return; the oldest maid, who carps at Penelope and the sisterhood she forms with the young maids. She soon recognizes the disguised Odysseus by his scars when he returns, and selects at his request the maids who will be punished for fraternizing with the suitors.

We also see a maid as Odysseus himself, a pompous braggart at times, who certainly did not make rushing home to Penelope his priority. These transformations in gender are aided by artful breastplate costumes (costume designer Kara Harmon).

Atwood describes “The Penelopiad” as most akin to a cabaret along the lines of Kurt Weill. The music and scintillating choral singing is composed by Samuel Davis and directed by Jeremy Ramey.
While in the first half we get mostly a poetic oration in a series of scenes—Penelope being cast heartlessly into the ocean by her father, surviving and gaining stature as a demigoddess; Penelope’s first encounter with the immature Odysseus—the second half gives rise to real drama. As the years wear on, Penelope develops one final ruse to avoid the suitors: she will weave a shroud for her father-in-law, and when it is done, will select one of the group to marry. Famously she unweaves the shroud each night, and eventually the suitors catch her. 

Luckily, Odysseus is back, and the Odyssey plot grinds quickly to its well-known conclusion. Odysseus slays the suitors, and then horrifically hangs the maids as well. Penelope examines herself in Atwood’s retelling of the epic, and how she has survived only because she sacrificed the maids to the suitor’s unwanted advances. She was powerless to keep Odysseus from hanging the maids, though to her credit, Odysseus kept his intent from her. It’s a truthful and sad conclusion, set in a wholly entertaining frame of music and dance. Kudos to the dramaturg Neena Arndt for her role in bringing us this lesser known work.

”The Penelopiad” runs at Chicago’s Goodman Theatre through March 31

GRACE -- “Let me try to explain something to you. The Nacirema Society is not a social service group nor a political organization. Our challenge and our joy is to celebrate the best of us, not by giving scholarships and financial assistance, but by recognizing the fact that there are some of us who don’t need it [a beat}. Who has never needed it." - From the script, "The Nacerima Society..."

Commissioned by The Alabama Shakespeare Festival in 2009, “The Nacirema Society Requests the Honor of Your Presence at a Celebration of their First One Hundred Years” comes to The Goodman Theatre thanks to the association its Artistic Director, Susan V. Booth, has with playwright Pearl Cleage. Chicago theatergoers cannot be happier. “The Nacirema Society Requests….” is a laugh out loud spectacle.

As some may have noticed “Nacirema” is simply “American” spelled backwards. Cleage borrowed the term from a satirical essay by Horace Miner, an anthropologist. Miner believes what one culture does and believes to be normal, others may see as unusual. Cleage feels African Americans have been forced to adopt values and norms of white society to survive and this process of assimilation has come at a cost.

Montgomery, Alabama, 1964 conjures up feelings of dread for African Americans. The play is set 10 years after the Montgomery bus boycott, and there are freedom rides into the deep South, challenging segregation. African Americans, under the tutelage of Dr. M.L. King Jr., are gearing up for a march from Selma to Montgomery to demand voting rights. But to Grace Dunbar, doyenne of the exclusive Nacirema Society, nothing is more important than its upcoming 100-year celebration ball. That set-up, in and of itself, begs one to laugh.

From the moment we meet Grace Dubose Dunbar, portrayed brilliantly by the exceptional E. Faye Butler, we know we must mind our manners. She is a high strung, outspoken, aristocrat. For a glimpse into her personality, one need only to remember Dunbar rhymes with bourgeois. She’s in the midst of preparing her granddaughter, Gracie, brought to life wonderfully by Demetra Dee, for the debutante ball organized by the Nacirema Society.

Assisting Grace is her dearest friend and fellow society member, Catherine Adams Green, played with an air of affluence by the talented Ora Jones. Catherine, being sure her grandson, the dashing Eric Gerard as Bobby Green, will propose to Gracie, has planted a story of their engagement to the local society papers. Gracie and Bobby have absolutely no intention of marrying, but out of respect for their grandmothers, they play along with the charade, at least until after the ball. Marie Dunbar, Grace’s Daughter-in-law and Gracie’s mother is aware of Gracie’s intentions and fully supports her. She is played by Sharriese Hamilton with strength and honesty.

Janet Logan, a reporter, played with steely resolve by Jaye Ladymore, will be covering the Debutante Ball for the New York Times. She will be the houseguest of Grace Dunbar, creating an extra layer of anxiety for Madame Grace to get everything just right. As if having a reporter from a major newspaper breathing down her neck weren’t enough, the daughter of the Dunbar’s late former maid, Alpha Campbell Jackson, a devious portrayal by Tyla Abercrumbie, is in town with her daughter Lillie Campbell Jackson, a lovely turn by Felicia Oduh to settle a family affair. Everyone gets more than they bargained for.

In a non-verbal role Shariba W. Rivers nearly steals the show as Jessie Roberts, the maid of Grace Dunbar, proving once again, there are no small roles.

The dual set for this production can only be described as a conspicuous display wealth. Arnel Sancianco, set designer, did a visually amazing job of creating a 1960’s upper middle-class home. There is a great room with a crystal chandelier hanging in the center. The furnishings are noticeably french, with several seating areas. There is a set of stairs leading to a library that is just as opulent as the rest of the home. The home of the late Lillie Campbell is just as impressive in its scope, a 1960’s working class kitchen with colored refrigerator and matching cabinets. Costume design by Samantha Jones was gorgeous. I can tell she likes working in this era. The jewel toned dresses were fabulous.

Cleage's is work is known for its sharp wit, and insightful commentary. “The Nacirema Society” shows her ability to combine humor with social critique. It is a thought-provoking look at the dynamics of a specific segment of African American society all wrapped up in a romantic comedy. Lili-Anne Brown did a fantastic job directing this situational comedy, she keeps the ball and the tension in the air, and despite the running time, makes us forget about the worries in the world, exactly what a comedy should do.

“The Nacirema Society” runs through October 15 at the Goodman Theatre in Chicago.

There is a Pearl Cleage festival in Chicago. Most of the events are free. You can get details at https://www.goodmantheatre.org/event/pearl-cleage-fest/