Penelope

Burns (Tadhg Murphy), Quinn (Karl Shiels), Dunne (Denis Conway) and Fitz (Niall Buggy) all want the same thing: the love of Penelope, wife of King Odysseus. Trapped together at the bottom of a drained swimming pool and in the thrall of the exalted Penelope, we watch as they each prepare for what they know will be their final performance in their attempt to win her heart before Odysseus’ prophesied return. Armed with a script that shows playwright Enda Walsh to be as much a poet as a storyteller, the four actors each provide a unique interpretation of the desperation their characters face. The older actors especially bring a heart-breaking vulnerability to characters that, at first, all seem like repellent caricatures of the worst of masculine stereotypes: the grief that spills out of Fitz’s monologue to Penelope is so deep that we almost find ourselves wishing for her to love him.

Re-imagining classic literature can be a very risky business, but by focusing on Penelope’s suitors Walsh has completely shifted the focus of the story to produce four strong and compelling characters in a unique situation. With a surreal start and a downright bizarre ending, Mikel Murfi’s production is alive with flashes of black humour, taking what is essentially a very dark and painful story, and transforming it into a tribute to the all-conquering nature of love.