Actress Laara Sadiq - Photo by Cate Cameron, courtesy of Laara Sadiq

Margaret Atwood reverses the famous myth of The Odyssey and gives the stage to Penelope herself in The Penelopiad, playing at the Stanley Industrial Alliance Stage until Nov. 20.

Penelope and her 12 maids present this ancient myth through a fresh and diverse lens, featuring social class differences as one of the main questions throughout the play, as they attempt to bridge gaps of culture and class.

“Penelope lived on an island,” says actress Laara Sadiq, when asked about the seeming homogeneity of culture in the play, “so yes, it’s homogenous that way, but we’re talking about ancient Greece…big cities like Troy would have been big melting pots at this time.”

The divides of class and culture are deftly challenged by the unifying quality of the play. Sadiq plays one of the maids, as well as the famous Helen of Troy, a sort of nemesis to Penelope.

For instance, Penelope, although the wife of a king, develops a sister-like bond with her 12 maids, a far cry from her relationship with Helen, who is considered to be in the same class. But the class differences between Penelope and her maids would have been staggering; their cultural differences are also implied. Nevertheless, they come together through their work to protect their home. “Their ‘Yes ma’ams,’ and ‘No ma’ams,’ hovered on the edge of laughter,” says Penelope, “as if neither they nor I could take their servile behaviour seriously.”

It’s not only Penelope and the maids who are working together. Even the deplorable male suitors, who at first seem to have a strictly adversarial relationship, are revealed to be in secret agreement with each other. Brought to Ithaca by the hopes of gaining the kingdom and Penelope’s hand, they decide that whoever wins the spoils will share with the others.

Not only mutual work and the hope of gain, however, act as a bridging element.  The unification of characters from different cultural and economic backgrounds takes place through their collective suffering. Their affinity to each other is developed because of the trials and tribulations they share.

Director Vanessa Porteous speaks of the enduring quality of the story, saying, “what’s timeless is the idea of how we survive things together. But if you’re divided by time or culture, it’s hard for friendships to survive…relationships are tried and ultimately broken.”

This theatre production features a large all female cast, with every character – except Penelope herself, played by actress Meg Roe – morphing fluidly into the roles of male suitors, musicians, maids, warriors and aristocrats. Most of the time right on stage before the very eyes of the audience, without them even knowing it.

“Not only are they the maids, but they’re also slipping into various roles,” says Sadiq. “It’s the kind of precise work that is very interesting for an actor.”

The story unravels when Odysseus leaves home to fight in the Trojan War. Penelope, their young son, and the maids, then attempt to keep hope alive – and Penelope’s suitors at bay.

“The weaving and unweaving of the shroud begins and you’re drawn to the plight of the 12 maids,” says Sadiq.

Porteous says that “the story itself has so many layers, it’s a retelling of the Trojan War from the women’s point of view.”

She hopes that the play tells Penelope’s story with “vulnerability and honesty,” and adds that “it’s a story for everyone.”