Adapted for the stage by Margaret Atwood from her critically acclaimed novella, The Penelopiad is a feminist retelling of Homer’s The Odyssey, reimaging the epic through the eyes of Penelope and her chorus of maids.
We caught up with Charlie Russell who plays Odysseus in the midst rehearsals. Russell is Creative Associate and a co-founder of Mischief Theatre – her Mischief credits include The Comedy About Spies, Groan Ups, The Play That Goes Wrong, Peter Pan Goes Wrong and The Comedy About A Bank Robbery. She has also been seen in Fanny and Birdsong.
What is The Penelopiad about and what fresh take does Margaret Atwood offer on the classic story of The Odyssey?
“We meet the patient Penelope as a wise, witty and woefully misrepresented woman. The Penelopiad is Homer’s Odyssey reimagined by Atwood from Penelope’s perspective, the story of how Penelope came to be married to Odysseus, and the trials and challenges she faced in the twenty years he was away, as well as some she faced afterwards.”
You play Odysseus in the show, a famously male role. How are you approaching bringing this iconic character to life?
“I’m thrilled to get to tackle Odysseus. What drew me to this role is that Atwood hasn’t written a simple man. She hasn’t written a story with clear good guys and bad guys where Odysseus is some villain. He’s as quick witted and crafty as often portrayed, but she gives us a chance to see the effects of him believing his own hype. And how war and ‘main character energy’ can have disastrous consequences. He believes himself to be the hero even in the play named after his wife! He believes himself to be righteous, as so often the perpetrators of war and violence do. I’m excited to wrestle with all this.
He’s also famed for his short legs, so really, I’m typecast.”
Christopher Nolan’s The Odyssey has been the blockbuster film of the summer, Penelope has been one of the hits of the Edinburgh Festival Fringe, and now The Penelopiad comes to the stage. Why do you think this story resonates so strongly with audiences?
“A ‘hero’s journey’ is an archetypal plot and this story has captured the hearts and minds of many for centuries. How can we not be drawn in by the promise of adventure, unknown, mysterious lands, brains overcoming brawn? For me it’s the longing to reach home, whatever that means for you, that really resonates. And can’t we all relate to it? Even if the journey is luckily and simply from work to the sofa, we know the feeling in our bones. Although something else that I think people underestimate about Homer’s Odyssey is the inconsistent morality. There is such hypocrisy in waging a war to bring back stolen ‘property’ (as Helen would have been considered) but then happily stealing livestock from strangers on their own land. Some version may show Odysseus to be an obvious hero, but I like the versions where we see him confronted with his own contradictions, and the remorse for committing atrocities.
The Penelopiad is special of course as we get so much more from Penelope, naturally, than in many other versions. We see the implications of war and abandonment for her, for her son, for her female maids. I mean, imagine waiting twenty years for someone whom you’d only spent a couple of years with prior. She basically waits most of her life for the story of stranger to return. It’s fascinating to actually get to see it from this perspective.”
Most people will know you for being part of Mischief. How are you finding working on a far more serious play?
“Oh I love it! Although I must say there is a lot of humour in this play and this production specifically. You can’t have a combo of [Margaret] Atwood, [Juliet] Forster and [Amelia] Bullmore and it not be witty. Perhaps that’s a misconception, that drama must be serious. That there isn’t painful comedy to be found in tragedy. I think that’s why I love working on all manner of material. It stretches me as a performer as well as being utterly engaging. The pursuit of truth in comedy, of honest lightness in drama… All genres require diligence, discipline, teamwork and play. It’s just about using the same muscles, but slightly differently and very specifically.”
You recently did a work in progress performance of your new Mischief show We Have A Problem at Shedinburgh, part of the Edinburgh Festival Fringe. How important are spaces like this for trying out new work?
“They’re essential. I’ve been excited to visit the studio space at York Theatre Royal in particular! In Mischief we are very fortunate to have had the opportunity to put on big, ambitious shows. But we don’t forget that The Play That Goes Wrong was first staged in a pub theatre. That version and the version you see now are very different. We learnt so much by performing to small audiences, by doing different length runs and that’s how it was able to grow. Shedinburgh is an incredible venue. Francesca Moody and her team are providing artists of all types and experience levels a space and opportunity to try new things, develop and grow, as well as providing audiences with the chance to see these artists in an intimate, unusual space.”
What has been the highlight of your theatrical career so far and what are some of your future aspirations?
“Oh that is a very difficult question to answer! So I’m going to cheat…
Of course, performing on Broadway with The Play That Goes Wrong and Peter Pan Goes Wrong are huge highlights. But I’ve also had the chance to play Fanny Mendelssohn in my dear friend Calum Finlay’s Fanny. This and my solo show Charlie Russell Aims To Please was directed by my dear friend Katie-Ann McDonough. I suppose all of these having working with my best friends in common… so maybe it’s that? (Have I listed my whole CV yet?)
In terms of the future… I’d really love to tackle Maggie in Cat on a Hot Tin Roof and Kate from The Taming of The Shrew. After getting to play Isabelle in Birdsong (got another one in) a few years ago I’m even more drawn to these strong, complicated, funny women with immense resilience. I really believe there are still so many things to be explored with these plays.
Oh. And get me in The Archers. I’m obsessed.”
Why should people come and see The Penelopiad at York Theatre Royal this autumn?
“Come and watch Amelia Bullmore and this incredible cast. I’m blown away by everyone’s talent and dedication. I feel so lucky to get to share the stage with them. Juliet [Forster] has created a generous and creative room, and her vision is exciting to engage with. And then, come on… it’s Margaret Atwood. Even if you don’t agree with her, it’s always worth hearing what she has to say.
(For the record Ms. Atwood, I agree with you)”
