The curtain recently rose on the world premiere of “Penelope,” a new theatrical work that reimagines Homer`s epic “Odyssey” for the contemporary stage. Presented as a collaboration between the esteemed Chekhov Festival and Armenia`s Amazgain Theatre, the play delves into themes of love, waiting, and the enduring impact of conflict.
Penned by Simon Abkarian, a playwright residing in France, this adaptation transports the ancient Greek narrative into a modern setting, substituting mythical figures with relatable characters. Penelope, the steadfast wife, becomes Dinah, and the wandering hero Odysseus is transformed into Elias. Their son, Telemachus, appears as Teos, and the persistent suitor takes the name Antaeus.
The core of the story remains Dinah`s two-decade wait for Elias`s return. We find her engaged in a seemingly mundane, disliked task – sewing at a machine. However, her words transcend simple description, transforming into powerful images and metaphors that underscore the deeper emotional and psychological landscape of her existence. The play eschews straightforward exposition in favor of poetic language, speaking of the harrowing realities of war and its universal casualties with a striking, almost lyrical intensity.
Visually, the production adopts a stark, minimalist aesthetic. The stage is furnished with only two tall white cubes, each featuring a window-like opening, and a single ladder. These elements are mobile, shifting and recombining to delineate space and emotion. A screen at the rear projects abstract, evocative video – grayscale waves washing over sand, erasing footprints; birds migrating towards an unknown destination – amplifying the performance`s emotional resonance. Live musicians, positioned slightly offstage, are integral to the fabric of the piece, their rhythms building tension or dissolving into poignant silence, actively participating in the unfolding drama.
The performances anchor the production. Narine Grigoryan portrays Dinah with remarkable strength and conviction. Her twenty-year wait is not passive endurance but an active, unwavering faith. Her confrontation with Antaeus (played by Narek Baghdasaryan), who pursues her out of cynical vanity rather than affection, is marked by a fierce, unyielding fury. Elias (Varsham Gevorgyan) is depicted on a challenging journey, transforming from a conqueror figure to a pacifist. The play starkly contrasts the masculine drive for conquest and possession with the feminine experience of pain and waiting.
It is noted that the Armenian language, with its pronounced hard consonants, contributes to the play`s impact. What might in other contexts impede vocal fluidity here serves to emphasize the characters` firmness – their unwavering convictions, their faith, their principles tested by life and conflict.
Modernity is subtly woven into the fabric of the ancient tale through minimal props: a plastic suitcase held by Teos (Telemachus), a mobile phone. These slight anachronisms highlight the timelessness of the story, placing the epic struggles of love, war, and separation firmly in the present day. The production masterfully conveys a vast, invisible emotional world through the nuanced performances of the Amazgain Theatre actors, contrasting with the spare visible environment.
The Amazgain Theatre`s history lends particular weight to this production. Founded in Yerevan in the early 1990s amidst interethnic conflict and hardship, the theatre itself endured a period of significant adversity. Audiences sometimes watched performances in coats due to lack of heating, attending by candlelight during power outages. As recalled by Narine Grigoryan, the theatre`s founder, the great Armenian artist Sos Sargsyan, insisted, “We must always be on the front lines. Because a people without culture are already defeated. We have no right to surrender here.” This ethos of resilience and commitment to culture in the face of conflict deeply resonates with the themes explored in “Penelope.”
In a conversation following the premiere, Narine Grigoryan shared insights into the play`s contemporary relevance. She highlighted its deeply personal connection to Simon Abkarian`s own life, inspired by his mother`s eight-year wait for his father who was fighting in the war in Lebanon. Abkarian wrote the play as a tribute to his mother, finding peace for her when she finally saw the production years later in France. Grigoryan emphasized Abkarian`s intention to give voice to the pain experienced by women during conflict.
She clarified that the play does not reduce its themes to a simple feminist narrative, a point she herself appreciates. As Abkarian sees it, the play is fundamentally a story of great love, with war serving as a stark catalyst that magnifies and reveals the true nature of characters. The enduring strength lies not in ambition or conquest, but in the unwavering faith and love of those who wait.
Ultimately, “Penelope” presented at the Chekhov Festival is more than just a theatrical event. It is a poignant, poetic meditation on timeless human experiences – war, love, separation, and enduring hope – proving that an ancient epic can offer profound insights into the complexities of our modern world, especially through the eyes of those who wait.
