The Penelopiad

For The Penelopiad, I focused on shared architecture rather than separate worlds. Penelope and the maids occupy the same structure, but the levels and open geometry keep shifting who appears centered, watched, or exposed. The set gives the story a place where memory and accusation can stand side by side.

The chorus needed to remain visible without flattening the stage picture. Layered playing levels gave the maids room to gather as a group, break into individual address, and return as witnesses. That flexibility let the production move between epic scale and direct testimony without changing the basic rules of the space.

The set keeps the argument physical. It lets testimony happen in the same place as memory, trial, and myth, so the evening can move between scale and intimacy without changing the basic structure. Penelope's story and the maids' story are never visually separate; they have to share the room.