of The Odyssey.
Homer’s “Odyssey” is one of the world’s oldest works of literature, and yet its story is timeless, especially when you read between the lines like Kate Hamill has for her adaptation for the American Repertory Theater.
Her version, directed by Shana Cooper and at the Loeb Drama Center through March 16, honors the original story but with a valiant goal: to open a dialogue about trauma in the aftermath of war and to put the women in Odysseus’ world center stage.
The broad strokes are largely the same as in the original epic. It follows Odysseus (Wayne T. Carr), king of Ithaca, on his homecoming journey after the 10-year Trojan War. Along the way, he contends with Polyphemus, the cyclops; the sorceress Circe, who enchants Odysseus and turns his men into pigs; and the rough seas whipped up by Poseidon to torment him.
Odysseus also contends with his memories of the war in Troy; of his actions to satisfy his all-consuming desire to be a hero. He experiences symptoms of PTSD, having frequent nightmares and hearing voices. The effects of trauma are also visible at home, where his wife Penelope (Andrus Nichols) waits for his return with their son Telemachus (Carlo Albán). She wakes from nightmares crying out his name.
Odyssey.”
There’s also emphasis on the women Odysseus encounters on his way home, from the cunning Circe (Kate Hamill) to the sweet Nausicaa (Alejandra Escalante). But Hamill’s most striking addition is a trio of women played by Escalante, Hamill and Nike Imoru. Named only Woman 1, 2 and 3, they’re omniscient presences – reminiscent of the witches in “Macbeth” – who narrate the story and haunt its characters. Some of the play’s most powerful moments are the ones when they’re on stage, trading lines with a natural chemistry.
They carry the show, and Hamill’s secondary performance as Circe especially stands out. Nichols is a passionate Penelope, and Carr’s Act 3 monologue is truly moving. Set against Sibyl Wickersheimer’s dynamic backdrop, the play moves us from the depths of Hades’ underworld to the island of Scheria to the palace in Ithaca with relative ease. The emphasis on shadows in Jeanette Oi-Suk Yew’s lighting design is brilliant, and there are some truly memorable uses of shadow puppetry by Abigail Baird.
There’s a level of modernization that comes with all adaptations, but this “Odyssey” missteps by going a touch too far. The show is full of expletives, for instance, and while these occasionally serve to convey characters’ emotions or the seriousness of their circumstances, more often they feel like filler.
Some of the depictions of sex come across as overly crass, and there’s a proliferation of dirty jokes from Odysseus’ men and Penelope’s suitors that don’t quite fit the mood of the rest of the piece. Hamill is certainly going for humor, especially in Act 1. Certain lines land – “Men? Pigs? What’s the difference?” Circe says – but others feel unnecessary, even inappropriate. There’s something to be said for a few moments of comedic relief to break up an otherwise heavy (and long) show, but ultimately this isn’t a funny play, and for the most part it shouldn’t try to be one.
Likewise, Penelope’s suitors, played by Chris Thorn, Jason O’Connell and Benjamin Bonenfant (who also play members of Odysseus’ crew and other characters), are supposed to be over-the-top gregarious types but threatening. In huge fur coats and sunglasses, they look silly and hard to take seriously.
Aside from those flaws in a three-hour, three-act play, Hamill’s “Odyssey” shines in just about every other way. Perhaps most importantly, she achieves a delicate balance: It’s true enough to the original story to satisfy Homer enthusiasts while being fresh enough to appeal to new viewers.
A stronger
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