The Old Globe is showcasing a world premiere play titled ‘The Janeiad,’ created by playwright Anna Ziegler and directed by Maggie Burrows.
This compelling production draws inspiration from Homer’s ‘Odyssey,’ transforming epic narratives into a profound exploration of modern grief, memory, and the delicate myths constructed to cope with loss.
Set in September 2001, the story unfolds with Jane, portrayed by Michaela Watkins, a Harvard-educated mother navigating the fragile aftermath of both personal and collective tragedy.
As she prepares to send her husband Gabe, played by Ryan Vasquez, off to work, Jane is engrossed in her book club choice, ‘The Odyssey.’ Her choice evokes mild self-doubt, as it feels odd in the stark reality of the present moment.
The tranquility of that morning shatters when Jane unexpectedly encounters Penelope, the renowned faithful wife of Odysseus, in her living room. Soon after, Jane receives a phone call from Gabe, who is situated in one of the Twin Towers. The call abruptly ends, and with it, Jane’s world diminishes into an echoing silence as Gabe is never found.
This sudden loss plunges Jane into a mythic purgatory, a realm where her experiences mirror Penelope’s timeless waiting.
Watkins’ portrayal of Jane evinces a blend of pragmatism and stoicism that resonates throughout the play.
Her character’s need for closure and structure drives her to cling to the narrative of Penelope, seeking solace in the stories that offer her life a semblance of order amidst the chaos of grief.
Conversely, Nadine Malouf’s performance as Penelope is nothing short of transformative, as she adeptly fluidly shifts between various identities, including Jane’s therapist and sister, thereby injecting vitality and movement into a play fraught with emotional weight.
Malouf’s versatility and impeccable timing provide essential levity to the production, capturing the audience’s attention through her lively transitions.
On the other hand, Ryan Vasquez’s performance highlights the complexities of memory, as he embodies both the essence of the Gabe Jane remembers and the specter of the invented version she clings to.
His presence serves as ephemeral memory ripples that reverberate through Jane’s psyche, fading even as she endeavors to grasp onto them.
The nuances of Joan’s relationship to Penelope complicate the narrative further.
Ziegler’s script poignantly questions the nature of Jane’s attachment to Penelope—whether she is finding comfort through a guiding light or succumbing to delusion.
As Jane waits for closure, the audience is left to ponder if she mirrors Odysseus on her own winding journey through grief.
In that lens, Penelope may act as a siren, offering an alluring escape that distracts Jane from recognizing the harsh truth of her reality.
Complementing the rich narrative is Tim Mackabee’s production design, which features a circular wooden floor adorned with Greek keys, evocative of ancient stages and the decks of ships.
The dreamlike atmosphere is further enhanced by Lap Chi Chu’s lighting and David Israel Reynoso’s costumes, combined with a soundscape that subtly recalls the weariness of time, marked by NPR time-stamps along two decades.
Ziegler’s lyrical language leaves a lasting impact, wrapping the audience in its poignant reflections on loss.
Although correlations to the tragic events of 9/11 underpin the story, ‘The Janeiad’ ultimately focuses on the themes of how grief reshapes time, identity, and meaning in our lives.
In the closing moments, Jane learns a vital lesson from Penelope: to reclaim agency over her narrative, she must take the loom of her story into her own hands.
For those interested in experiencing this emotionally resonant play, ‘The Janeiad’ runs through July 13th at The Old Globe.
Ticket and showtime information can be accessed via www.theoldglobe.org.
image source from：broadwayworld
