Theater Review: Penelope The Musical Is A Greek Myth I Can Rewatch

As a musical, Penelope was masterful, fun, and bright spot unto the theater scene that needs it. Playing at the York Theatre until April 24, buy tickets HERE,I have a theory why the theatre spaces are still struggling; beyond the fact that Covid and Subway violence are still very present. Before the pandemic, theater was thriving, but beyond Hamilton and few other musicals, it was not the easiest thing to find a fun show. Every play and musical wanted to be a life or existential lesson on something, which my philosophical mind’s penchant for anxiety over the meaning of humanity adores! Yet, sometimes, you want to learn and laugh, which is not so easy, but Penelope makes it so.

From the beginning, Peter Kellog’s book and lyrics make it clear that Penelope (the fabulous Britney Nicole Simpson) is enjoying her “single-hood.” While she grieves Odysseus (Ben Jacoby), in truth, she’s discovered so much of herself, and, immediately, Stephen Weiner’s music and David Hancock Turner’s directions sets up the theme of sexism. Whether it is in ancient times, or present, there is a shock and awe that a woman could enjoy her own company so much, she does not want a man. Her five hilarious suitors, Cooper Howell as Antinous, David LaMarr as Mileter, Jacob Alexander Simon as Bassanio, George Slotin as Haius, and Sean Thompson as Barius, are overbearing, annoying, and so great at harmonizing they become a quintet. They scene-steal as a comical emblem of how men confuse female rejection for either “playing hard to get” or simply not knowing just how much we want or need to be “loved” by them. While we all laugh and swoon at their melodies, as a woman, I felt spotlighted in terms of the many times a guy denied me the power of denying them.

Unfortunately, Penelope must suffer the burden of these men, and the best musical numbers come from the stories she tells them to get away; hence why the show is called Penelope or How The Odyssey Was Really Written.s Penelope is the “new Homer,” and she thrives in the lush of her newfound, narrative power , especially in vocals. Backed by the HILARIOUS wit of as Leah Hocking as Eurycleia, the juxtaposition of a strong woman facing weaker men is perfect in displaying that male privilege can truly get away with stuff like, spending 10 years on an island with another woman, Odysseus, or moving into a widow’s home for 7 years and eating all her food while bullying her son and his new girlfriend, Phillipe Arroyo as the sweet Telemachus and Maria Wirries as the adorable Daphne The outlandishness is what makes the first act so strong, and the second one a nice bow over its gift.