The Penelopiad
By Margaret Atwood
Directed by David Haugen
Sound Design by Megan Culley
The Play
Setting:
Ancient Greece
Modern Day Hades
Characters:
Penelope- daughter of King Icarius and a Naiad; wife of Odysseus; mother of Telemachus;
known for her intelligence and faithfulness to her husband
Odysseus- husband of Penelope; father of Telemachus; son of Laertes and Anticleia; legendary
king of Ithaca; reknown trickster; favorite of Athena; creator of the Trojan horse; most famous
for the ten eventful years he took to return home after the ten-year Trojan War
Telemachus- son of Penelope and Odysseus; spends the first four books of the Odyssey trying to
find information about his father; sails to try to find him;
Helen of Troy- daughter of Zeus and Leda; sister of Castor, Pollux, and Clytemnestra;
considered the most beautiful woman in the world; married to Menelaus; abducted by Paris
(Prince of Troy); cause of the Trojan War
Menelaus- King of Mycenaean Sparta; husband of Helen of Troy; central figure in the Trojan
War
Naiad Mother- mother of Penelope; wife of Icarius; water deity; cold and distant from her
daughter
Oracle- a person considered to provide wise counsel or prophetic predictions or precognition of
the future inspired by the gods
Eurycleia- Odysseus’ nurse from birth; knows Odysseus better than anyone; nurse to Telemachus
also
Laertes- father of Odysseus; husband of Anticleia; King of Ithaca; loses his mind when his son
remains missing
Anticleia- mother of Odysseus; wife of Laertes; Queen of Ithaca
Antinous- an aggressive suitor
The Maids:
Melantho
Tanis
Kerthia
Iole
Celandine
Klytie
Selene
Zoe
Alecto
Chloris
Phasiana
Narcissa
Synopsis:
The story begins with Penelope alone in the Greek underworld of the dead. Penelope, the wife of
Odysseus renowned for her faithfulness, has decided to tell her side of the famous Odyssey story.
Penelope is haunted in the underworld by the spirits of her twelve maids, the ones who Odysseus
ordered to be killed upon his return to Ithaca.
Penelope begins with the story of her birth: her father was the Spartan king Icarius and her
relatively absent mother was a naiad. After Penelope was born, her father consults an oracle who
tells him that his daughter will weave her father's burial shroud (or father-in-law's). Icarius
interprets this as a sign that his daughter will kill him. He decides to throw the baby Penelope
into the sea. Penelope is rescued by a bevy of purple-striped ducks. Icarius takes this as a sign
from the gods in Penelope's favor and bestows her with the nickname "Ducky."
When Penelope is fifteen, King Icarius holds a foot race to choose a husband for his daughter.
Odysseus drugs some wine before the race and gives it to his fellow competitors. Before the race
begins, Penelope's maids tease Odysseus for his rural appearance and Penelope for her naïveté
about sex. The beautiful Helen, cousin of Penelope and wife of another Spartan king (Menelaus),
also joins them in teasing Penelope and Odysseus, who had also been one of Helen's suitors. The
race begins; the competitors are significantly slowed by the drugged wine and thus Odysseus
wins the race and Penelope's hand. A marriage ceremony and banquet is held immediately after.
Penelope's naiad mother gives her some advice: she reminds her daughter that she is half-water,
that water is patient and flows around obstacles rather than resisting. This advice serves as
foreshadowing for Penelope's actions during the later conflict of the play. That night, Odysseus
is charming and reassures a terrified Penelope. After they consummate their marriage, they talk
for a long time. By the time morning comes, Penelope has developed romantic feelings toward
Odysseus.
Odysseus takes Penelope on a ship back to Ithaca. She meets his parents, the friendly King
Laertes and the icy Queen Anticleia. She also meets Odysseus's dear, dependable nursemaid
Eurycleia, the one who raised him from infancy. Eurycleia assures Penelope that she has
everything under control; all Penelope has to do is work on producing a son. Sure enough,
Penelope soon gives birth to a son, Telemachus. The twelve maids are also born around the same
time and are taken to be raised as playmates for Telemachus.
Penelope has little control in her new life in Ithaca. Eurycleia has taken over the raising of
Telemachus; Telemachus says his first word, "Mama"—to Eurycleia. Penelope, with no friends
and nothing to do, ends up spending much of her time weaving in the women's quarters with the
female slaves. The highlights of her life were her nights with Odysseus. One night, Odysseus
tells her the secret of his bed: he carved one of the bedposts from a rooted olive tree. Penelope
and Odysseus are interrupted by a ship bringing news.
The news is that Penelope's cousin Helen eloped with Paris of Troy. Odysseus has to go to Troy
because of an oath made between Helen's suitors: that they would defend the honor of the man
who won her hand. Odysseus leaves for the Trojan War.
The Trojan War lasts ten years. During this time, Anticleia passes away and Laertes moves out
of the palace and into the countryside. Telemachus grows up with Eurycleia spoiling him
immensely. Penelope is left with learning to run the kingdom on her own; she does well with the
task and even increases his stock, hoping to impress and please Odysseus. Throughout the years,
Penelope hears bardic songs about the war and Odysseus's exploits. At last, the Greeks win the
war with Odysseus's Trojan horse ploy: the Greeks build a large wooden horse that was
ostensibly an offering to the gods, but was actually filled with Greek soldiers. The Trojans
brought the horse into their city, allowing the Greek forces to finally overcome the impenetrable
walls of Troy and destroy the city. The Greek soldiers depart from Troy, and Odysseus is
expected home soon. However, for the first two years after the war, Penelope only hears rumors
of his travails (portrayed in "The Wily Sea Captain" cabaret-style song): escaping the land of the
Lotus-Eaters, outwitting the Cyclops, and his affair with the goddess Circe. (See Books 9–10 of
Homer's Odyssey for more about the stories referenced in "The Wily Sea Captain.") Then, even
the rumors stop.
ACT TWO
The second act begins with a moment between the ghosts of Penelope and Helen in the
underworld. Helen is on her way to take a bath (despite the fact that they don't have bodies) with
a flock of warrior ghosts following her. Helen bathes in front of the ghosts as a form of
repayment, since she caused so many of their deaths. There is a moment paralleling the warrior
ghosts following Helen with the maids' ghosts following Penelope, then Helen leaves and
Penelope returns to her story.
A couple of years after the war ended and Odysseus still hadn't returned, young noblemen begin
to arrive at the palace assuming Odysseus was dead and Penelope was again on the marriage
market. The suitors, whose numbers eventually grow to over one hundred, begin a perpetual
feast at the palace, consuming Odysseus's livestock and wine as a coercion tactic (i.e., marry one
of us or we'll eat you into poverty). Penelope can't force the suitors to leave; they have numbers
and weaponry on their side. As the tension rises, Penelope keeps in mind her mother's reminder
that she is half-water—she encourages different suitors, but promises them nothing.
Then Penelope comes up with an idea: she tells the suitors that she mustn't remarry until she
fulfills her filial duty and weaves her aging father-in-law's burial shroud, or else risk the wrath of
the gods. Penelope declares that she will choose a new husband upon completion of the shroud
and the suitors acquiesce. Penelope chooses her twelve favorite maids to help her weave the
shroud. (These twelve were the ones who were brought up as playmates for Telemachus, raised
and trained by Penelope herself.) Every night, Penelope and the twelve maids secretly unravel
the shroud, and the suitors, Eurycleia, and Telemachus are none the wiser
Over the course of the next three years, Penelope weaves and unweaves, talking and laughing
with the maids until the girls become like family to her. The maids also serve as sources of
knowledge about the suitors. Penelope worries that one of the suitors, Antinous, is growing
suspicious; she tells one of the maids, Melantho, to distract him. She directs the maids to become
close to the suitors and gives them permission to speak ill of her and her family to enhance the
guise.
Melantho and the maids do as Penelope bids; they flirt with the suitors in order to distract them
and gather information. However, the suspicious Antinous notices Penelope giving Melantho a
significant look; he confronts Melantho about it and about the length of time it's taking Penelope
to finish the shroud. Melantho denies any knowledge. Antinous and several other suitors rape
Melantho along with the other maids.
Later, as Penelope tends to the abused girls, the maids beg their mistress to tell Eurycleia about
the ruse. Penelope refuses, fearing that Eurycleia wouldn't be able to keep the secret and the
suitors would find out. Proving her point, Eurycleia bursts in with the news that Telemachus has
left on a ship in search of Odysseus (even though Telemachus made Eurycleia promise not to
tell), and that the suitors are planning to kill him on his way back.
After an indeterminate amount of time, Telemachus returns from his voyage. He argues with
Penelope, berating the suitors and the maids for consuming his inheritance and his mother for her
apparent inaction. Telemachus eventually tells Penelope that he found out Odysseus is alive but
trapped on an island with a goddess. The two manage to find a moment of connection at the end
of the scene.
One night, Penelope is unweaving her shroud with her maids—except Melantho. The maids are
significantly quieter than the last time the audience saw them unweaving; Penelope promises
them that everything will be better when Odysseus returns, that he'll be pleased and reward them
for their loyalty. Suddenly, the suitors burst into the room with Melantho, catching Penelope in
the act of unweaving the shroud and breaking the ruse.
The pressure on Penelope increases and her thoughts grow darker. Penelope has bad dreams as
she sleeps. Penelope dreams about her naiad mother's advice to be like water. She dreams a
reprise of "The Wily Sea Captain" song, containing more of Odysseus's adventures: the Isle of
the Dead, the Sirens, the whirlpool Charybdis, the monster Scylla, the goddess Calypso, and the
Phaeacian princess Nausicaa. (See Books 5–6 and 11–12 of Homer's Odyssey for more about the
stories referenced in "The Wily Sea Captain" reprise.)
Finally, after twenty years of absence, Odysseus returns disguised as a beggar; he takes in the
state of his palace and the rude behavior of the suitors and maids who threaten and insult him.
Odysseus meets his now young adult son Telemachus and reveals his identity to him. Odysseus
bids Telemachus to help him retrieve some weapons, but not to tell Penelope so she wouldn't
give away his disguise. Odysseus converses with Penelope, who proclaims that she will marry
whomever can string Odysseus's bow and shoot an arrow through twelve axeheads—a feat that
only Odysseus could perform. Penelope then recounts one of her dreams: that an eagle kills a
flock of geese beloved to her. Odysseus interprets the dream as an omen that her husband will
return and kill the suitors, but Penelope is unsure that the geese are the suitors (because of her
sorrow at their deaths). Penelope orders Eurycleia to wash Odysseus's feet; Eurycleia sees a
telltale scar on Odysseus's thigh and realizes the beggar is her master. Odysseus threatens
Eurycleia to secrecy.
Penelope divulges to the audience that she recognized Odysseus immediately, but didn't want to
reveal that she knew and mar Odysseus's pride in his wit. Penelope leaves for the night, excited
to tell Odysseus and the maids on the morrow. As per Odysseus's instructions, Eurycleia locks
Penelope in her bedroom in order to spare her from the carnage.
The following morning, the suitors try and fail to string Odysseus's bow. Odysseus successfully
strings the bow and shoots an arrow through twelve axeheads, then he kills the suitors with help
from Telemachus. Odysseus orders Eurycleia to bring the maids to the hall to clean up the
massacre then to have them killed. Telemachus and Eurycleia protest; Eurycleia narrows the
number down to the twelve most disloyal maids (Penelope's twelve maids). Odysseus leaves the
matter in Telemachus's hands. The maids beg Telemachus to talk to Penelope, insisting that they
were under her orders. Telemachus hesitates, but Eurycleia pushes him into action. After the
deed is done, Eurycleia wakes Penelope, telling her of Odysseus's return, the death of the suitors,
and the hanging of the twelve maids. Penelope and Odysseus finally reunite; however, it's
certainly not a happily-ever-after. Both have changed during the past twenty years, and much lies
beneath the surface of their words.
Back in the underworld, Penelope talks about the reincarnation process and her hesitancy to be
reborn. Odysseus wants to be with Penelope in the underworld; but the ghosts of the twelve
maids give Odysseus anguish and he continually leaves to be reborn again. Penelope directly
addresses the maids' ghosts, imploring them to leave Odysseus alone, asking what they want
from Odysseus and herself. However, the maids don't speak to Penelope or stay when she
approaches them; they continually flit away from her.
Background:
Homer is one of the most influential writers in history. The Iliad and the Odyssey are believed to
have been written in the late 8th or early 7th century BCE and are the first known literature in
Europe. The works were written in dactylic hexameter verse, which refers to six mentrical units
per line. The units refer to pronunciation time of a syllable. The metric units are dactyls (one
long syllable plus two short syllables) and spondees (two long syllables.) The works were
developed and shaped by a long oral tradition of storytelling.
The Iliad:
Nine years after the start of the Trojan War, the Greek (“Achaean”) army sacks Chryse, a town
allied with Troy. During the battle, the Achaeans capture a pair of beautiful maidens, Chryseis
and Briseis. Agamemnon, the leader of the Achaean forces, takes Chryseis as his prize, and
Achilles, the Achaeans’ greatest warrior, claims Briseis. Chryseis’s father, Chryses, who serves
as a priest of the god Apollo, offers an enormous ransom in return for his daughter, but
Agamemnon refuses to give Chryseis back. Chryses then prays to Apollo, who sends a plague
upon the Achaean camp.
After many Achaeans die, Agamemnon consults the prophet Calchas to determine the cause of
the plague. When he learns that Chryseis is the cause, he reluctantly gives her up but then
demands Briseis from Achilles as compensation. Furious at this insult, Achilles returns to his tent
in the army camp and refuses to fight in the war any longer. He vengefully yearns to see the
Achaeans destroyed and asks his mother, the sea-nymph Thetis, to enlist the services of Zeus,
king of the gods, toward this end. The Trojan and Achaean sides have declared a cease-fire with
each other, but now the Trojans breach the treaty and Zeus comes to their aid.
With Zeus supporting the Trojans and Achilles refusing to fight, the Achaeans suffer great
losses. Several days of fierce conflict ensue, including duels between Paris and Menelaus and
between Hector and Ajax. The Achaeans make no progress; even the heroism of the great
Achaean warrior Diomedes proves fruitless. The Trojans push the Achaeans back, forcing them
to take refuge behind the ramparts that protect their ships. The Achaeans begin to nurture some
hope for the future when a nighttime reconnaissance mission by Diomedes and Odysseus yields
information about the Trojans’ plans, but the next day brings disaster. Several Achaean
commanders become wounded, and the Trojans break through the Achaean ramparts. They
advance all the way up to the boundary of the Achaean camp and set fire to one of the ships.
Defeat seems imminent, because without the ships, the army will be stranded at Troy and almost
certainly destroyed.
Concerned for his comrades but still too proud to help them himself, Achilles agrees to a plan
proposed by Nestor that will allow his beloved friend Patroclus to take his place in battle,
wearing his armor. Patroclus is a fine warrior, and his presence on the battlefield helps the
Achaeans push the Trojans away from the ships and back to the city walls. But the counterattack
soon falters. Apollo knocks Patroclus’s armor to the ground, and Hector slays him. Fighting then
breaks out as both sides try to lay claim to the body and armor. Hector ends up with the armor,
but the Achaeans, thanks to a courageous effort by Menelaus and others, manage to bring the
body back to their camp. When Achilles discovers that Hector has killed Patroclus, he fills with
such grief and rage that he agrees to reconcile with Agamemnon and rejoin the battle. Thetis
goes to Mount Olympus and persuades the god Hephaestus to forge Achilles a new suit of armor,
which she presents to him the next morning. Achilles then rides out to battle at the head of the
Achaean army.
Meanwhile, Hector, not expecting Achilles to rejoin the battle, has ordered his men to camp
outside the walls of Troy. But when the Trojan army glimpses Achilles, it flees in terror back
behind the city walls. Achilles cuts down every Trojan he sees. Strengthened by his rage, he even
fights the god of the river Xanthus, who is angered that Achilles has caused so many corpses to
fall into his streams. Finally, Achilles confronts Hector outside the walls of Troy. Ashamed at the
poor advice that he gave his comrades, Hector refuses to flee inside the city with them. Achilles
chases him around the city’s periphery three times, but the goddess Athena finally tricks Hector
into turning around and fighting Achilles. In a dramatic duel, Achilles kills Hector. He then
lashes the body to the back of his chariot and drags it across the battlefield to the Achaean camp.
Upon Achilles’ arrival, the triumphant Achaeans celebrate Patroclus’s funeral with a long series
of athletic games in his honor. Each day for the next nine days, Achilles drags Hector’s body in
circles around Patroclus’s funeral bier.
At last, the gods agree that Hector deserves a proper burial. Zeus sends the god Hermes to escort
King Priam, Hector’s father and the ruler of Troy, into the Achaean camp. Priam tearfully pleads
with Achilles to take pity on a father bereft of his son and return Hector’s body. He invokes the
memory of Achilles’ own father, Peleus. Deeply moved, Achilles finally relents and returns
Hector’s corpse to the Trojans. Both sides agree to a temporary truce, and Hector receives a
hero’s funeral.
The Odyssey:
Ten years have passed since the fall of Troy, and the Greek hero Odysseus still has not returned
to his kingdom in Ithaca. A large and rowdy mob of suitors who have overrun Odysseus’s palace
and pillaged his land continue to court his wife, Penelope. She has remained faithful to
Odysseus. Prince Telemachus, Odysseus’s son, wants desperately to throw them out but does not
have the confidence or experience to fight them. One of the suitors, Antinous, plans to
assassinate the young prince, eliminating the only opposition to their dominion over the palace.
Unknown to the suitors, Odysseus is still alive. The beautiful nymph Calypso, possessed by love
for him, has imprisoned him on her island, Ogygia. He longs to return to his wife and son, but he
has no ship or crew to help him escape. While the gods and goddesses of Mount Olympus debate
Odysseus’s future, Athena, Odysseus’s strongest supporter among the gods, resolves to help
Telemachus. Disguised as a friend of the prince’s grandfather, Laertes, she convinces the prince
to call a meeting of the assembly at which he reproaches the suitors. Athena also prepares him
for a great journey to Pylos and Sparta, where the kings Nestor and Menelaus, Odysseus’s
companions during the war, inform him that Odysseus is alive and trapped on Calypso’s island.
Telemachus makes plans to return home, while, back in Ithaca, Antinous and the other suitors
prepare an ambush to kill him when he reaches port.
On Mount Olympus, Zeus sends Hermes to rescue Odysseus from Calypso. Hermes persuades
Calypso to let Odysseus build a ship and leave. The homesick hero sets sail, but when Poseidon,
god of the sea, finds him sailing home, he sends a storm to wreck Odysseus’s ship. Poseidon has
harbored a bitter grudge against Odysseus since the hero blinded his son, the Cyclops
Polyphemus, earlier in his travels. Athena intervenes to save Odysseus from Poseidon’s wrath,
and the beleaguered king lands at Scheria, home of the Phaeacians. Nausicaa, the Phaeacian
princess, shows him to the royal palace, and Odysseus receives a warm welcome from the king
and queen. When he identifies himself as Odysseus, his hosts, who have heard of his exploits at
Troy, are stunned. They promise to give him safe passage to Ithaca, but first they beg to hear the
story of his adventures.
Odysseus spends the night describing the fantastic chain of events leading up to his arrival on
Calypso’s island. He recounts his trip to the Land of the Lotus Eaters, his battle with
Polyphemus the Cyclops, his love affair with the witch-goddess Circe, his temptation by the
deadly Sirens, his journey into Hades to consult the prophet Tiresias, and his fight with the sea
monster Scylla. When he finishes his story, the Phaeacians return Odysseus to Ithaca, where he
seeks out the hut of his faithful swineherd, Eumaeus. Though Athena has disguised Odysseus as
a beggar, Eumaeus warmly receives and nourishes him in the hut. He soon encounters
Telemachus, who has returned from Pylos and Sparta despite the suitors’ ambush, and reveals to
him his true identity. Odysseus and Telemachus devise a plan to massacre the suitors and regain
control of Ithaca.
When Odysseus arrives at the palace the next day, still disguised as a beggar, he endures abuse
and insults from the suitors. The only person who recognizes him is his old nurse, Eurycleia, but
she swears not to disclose his secret. Penelope takes an interest in this strange beggar, suspecting
that he might be her long-lost husband. Quite crafty herself, Penelope organizes an archery
contest the following day and promises to marry any man who can string Odysseus’s great bow
and fire an arrow through a row of twelve axes—a feat that only Odysseus has ever been able to
accomplish. At the contest, each suitor tries to string the bow and fails. Odysseus steps up to the
bow and, with little effort, fires an arrow through all twelve axes. He then turns the bow on the
suitors. He and Telemachus, assisted by a few faithful servants, kill every last suitor.
Odysseus reveals himself to the entire palace and reunites with his loving Penelope. He travels to
the outskirts of Ithaca to see his aging father, Laertes. They come under attack from the vengeful
family members of the dead suitors, but Laertes, reinvigorated by his son’s return, successfully
kills Antinous’s father and puts a stop to the attack. Zeus dispatches Athena to restore peace.
With his power secure and his family reunited, Odysseus’s long ordeal comes to an end.
Religion in Ancient Greece:
Ancient Greek religion was based on the belief in a multitude of gods who possessed immortality
and powers. There were few specific guidelines for the practitioners besides belief itself. The
myths and stories about the gods were able to be altered or invented, which meant that Homer’s
works were highly influential in the legends of the gods.
There were twelve major gods that the Greeks believed lived on Mount Olympus, the tallest
mountain in Greece. These gods were referred to as the Olympians. These commonly included
Zeus (king of the gods), Hera (queen of the gods), Hades (god of the Underworld), Poseidon
(god of the sea), Athena (goddess of wisdom, war, and weaving), Apollo (god of music and
prophecy), Artemis (goddess of the hunt), Hermes (god of guide, the messenger), Aphrodite
(goddess of love and sexuality), Ares (god of war), Hephaestus (god of metalworking), Demeter
(goddess of agriculture), Dionysus (god of wine and theater), and Hestia (god of domesticity.)
There were also many Non-Olympian deities and spirits. Nymphs were female elemental
goddesses who were attached to specific land features or locations. Naiads were a type of nymph
that presided over a body of fresh water. The Fates were three sister goddesses who weaved the
fate of a person’s life. The Furies were three sister goddesses of revenge.
The Greeks believed that they spent the afterlife in Hades, the underworld. It was believed to be
a grey, sunless place deep inside the earth. It was made of three locations. The Fields of
Asphodel were a dull, dimly lit place filled with asphodel flowers. The Fields of Elysium were
home to those favored by the gods. Tartarus was a place of punishment for those who had
committed a serious crime against the gods.
There were five rivers of the underworld. Styx, the central river, was the river of hatred. The
Olympians used the river the swear unbreakable oaths. Lethe was the river of forgetfulness. It
was said that upon entrance to the underworld, a person would drink from the river Lethe and
forget who they were. This resulted in many stories about reincarnation. Acheron was the river
of pain and woe. Cocytus was the river of lamentation that flowed into the Acheron. Phlegethon
was the river of fire that lead to Tartarus.
Slavery in Ancient Greece:
Slavery was a normal part of life in Ancient Greece. Slaves were often the inevitable
consequence of war and marauding. Following an attack, the Greek soldiers would plunder the
city. The men were killed and the women and children were made to be slaves. Most slaves in
Ancient Greece were foreign. Children also became slaves by being abandoned by parents who
wanted a son or being sold by their parents for money. Women often became sex slaves to the
winning side. Slavery had a large effect on the Greek economy, and so was thought of as a
necessary part of society.
In some cases, slaves could become wealthy and relatively independent. They could live and
work and periodically send payments to their masters. Slaves working in a household had better
lives than other slaves. They were often treated almost as family members. A wealthy household
would have 10-20 slaves, who were supervised by the woman of the family.
Music in Ancient Greece:
Music was universally a present part of Greek society. From marriages and funerals to religious
ceremonies, theatre, folk music, and epic poetry, music was of vital importance. Fragments
remain of musical notation, and it can be surmised what the music sounded like and the role of it
in society.
The word “music” comes from the Muses, the daughters of Zeus and patron goddesses of
creative and intellectual endeavors. Pythagoras laid the foundations of our knowledge of
harmonics and “music of the spheres.” Many laws and forms of music were established by these
early philosophers.
An important element of Greek music was a complex system of relating certain emotional and
spiritual characteristics to modes. Each mode was associated with a different humour and the
power of a planet:
Water (Cool and moist)
Dorian: fiery power; makes listener more active by drying water; “harsh”
Hypodorian: watery lunar power; makes listener less active and more sluggish
Fire (warm and dry)
Phrygian: utilizes the power of Mars (warm and dry); magnifies boldness, exhuberance, passion,
ego, will, courage, quick wit, and leadership
Hypophrygian: utilizes the power of Mercury (neutral); reinforces both good and bad
characteristics in the listener
Air (moist and warm)
Lydian: utilizes the power of Jupiter (moist and warm); reinforces Sanguine characteristics (good
cheer, optimism, friendliness, laughter, love, and song) resulting in Jovial happiness
Hypolydian: utilizes the power of Venus (moist and warm); more moist than Jovial power;
results in Erotic sadness; “Weeping Mode”
Earth (dry and cool)
Mixolydian: utilizes the power of Saturn (dry and cool); magnifies effects and leads to Saturine
melancholy; may lead to paralyzing depression or (sometimes moody) introspection, artistic
genius, good memory, scholarship, spirituality; provides ability to experience deeply and
transcend the ordinary; encompasses all forms of madness
Hypomixolydian: utilizes the power of a celestial sphere; innate beauty and loveliness;
corresponds to all fixed stars and the 13 Olympians
Modern Western scales use the placement of whole tones and half tones, but generally not
quarter tones. The Greeks used whole, half, quarter, and even smaller intervals to develop a large
amount of scales and modes. These modes were influential throughout Roman music and later
into European Middle Ages. Their music was primarily monophonic, with little to no harmony.
The function of this music was influenced heavily by mythology. Armphion learned music from
Hermes and then with a golden lyre build Thebes by moving the stones into place with the sound
of the lyre. Orpheus, the master musician and lyre-player, played so magically that he could
sooth wild beasts. Rhea played a brazen drum and compelled man’s attention to the oracles of
the goddess. There are many other myths pertaining to the power of music. Music was also used
to honor the gods, such as Dionysus. IT was also heard at many rituals, games, and dramas.
Types of Greek Instruments:
Lyre: a strummed and pluced string instrument built on a tortoise-shell frame; seven or more
strings
Kithara: strummed string instrument; box type frame with strings stretched across
Aulos: two double reed pipes generally played with a mouth-band to hold both pipes steadily
between the player’s lips; produced a low, clarinet-like sound
Pan pipes: named for the nymph who changed into a reed to hide from Pan; stopped pipes that
gradually increase in length; tuned by cutting to a desired scale; sound is produced by blowing
across the top of the open pipe
Hydraulis: forerunner of modern organ; used water to supply a constant flow of pressure to the
pipes
Research CD (March 10, 2015)
1. No Sleep Tonight- Tyler Bates (300); use of percussion mixed with wailing horns and woodwinds that
sound as if they could be voices; chorus vocals add tension, almost like the humming of bees
2. Kronos- Andrew Lockington (Percy Jackson: Sea of Monsters); Dissonance between instruments
crescendos and descrescendos to create a tense and dense atmosphere; vocals at 0:58
3. Game of Thrones Main Title- Ramin Djawadi (Game of Thrones); Theme and variation, primal
percussion, melodic doubling, use of modality (intro)
4. The Ephors- Tyler Bates (300); screeching effect with instruments could be almost human/animal but
not quite, percussion like the falling of thousands of footsteps, wailing and dissonant vocals
5. Cursed by Beauty- Tyler Bates (300); modulating strings, ethereal vocals, percussive accents, wailing
6. The Agoge- Tyler Bates (300); deep pulsing vocals, percussion comes in with soprano/alto dissonant
lines
7. To Vaes Dothrak- Ramin Djawadi (Game of Thrones); primal percussion, hunting horns
8. To Victory- Tyler Bates (300); wailing guitar (could be simulated using voices), modal lute, chorus
vocals used sparingly
9. Submission- Tyler Bates (300); deep and heavy intro leads to light and beautiful vocal solo, then back
into low and heavy long notes
10. Sparta- Tyler Bates (300: Rise on an Empire); use of heavy percussion
11. Artemisia's Childhood (300: Rise of an Empire); lute sounding melodic lead with reverb and low
undertone strings, builds to scream halfway through, theme and variation
12. Marathon- Tyler Bates (300: Rise of an Empire); heavy percussion with punctuating metallic smashes
and men grunting/shouting
13. Immortals Battle- Tyler Bates (300); tenor vocal mixed with ute, primal percussion, cymbal
punctuation
14. Xerxes' Thoughts- Tyler Bates (300: Rise on an Empire); slow build while modulating pitch, male
vocal may be too Middle Eastern but I like the use of it over the steady notes and mixed with the lute
15. Small Pack of Wolves- Ramin Djawadi (Game of Thrones); wailing strings, primal percussion,
dueling cellos
16. Tree of the Dead- Tyler Bates (300); abstracted footsteps used as percussion that grow closer, use of
vocal dissonance with strings, percussive motifs that vary, builds through entire piece, gives illusion of
moving closer to something until all is revealed at 1:51
Research CD II (March 15, 2015)
Overture-Andrew Lloyd Webber (Jesus Christ Superstar); I designed this show recently and was
very affected by the electric guitar as well as the modality of the entire show.
Decode-Paramore; Electric guitar that maintains purity while clearly being electric and modern
Mirror Blue Night-Duncan Sheik (Spring Awakening); natural sounds with modern instruments
Spliced Aphrodite-Bioshock Video Game; building tension with modality and classical
instruments
All Spliced Up-Bioshock Video Game; intense percussion Haunted Slums-Bioshock Video
Game; whispers, dissonance to build tension
Requiem for Evita-Andrew Lloyd Webber (Evita); present electric guitar that drives the piece
Master Assassin-Jesper Kyd (Assassin's Creed Brotherhood); primal, driving percussion with
ancient sounding instruments
Fight of the Assassins-Jesper Kyd (Assassin's Creed Brotherhood); heavy drums with shrieking
electric guitar and other stringed instruments
Cesare Borgia-Jesper Kyd (Assassin's Creed Brotherhood); vocal ensemble with driving
percussion
Research CD III (April 21, 2015)
Lacrymosa (Evanescence)- use of strings/classical orchestration with modern drums; largesounding choir could add interesting dynamic to the sound of the show
Eruption (Van Halen)- tone of guitar; distortion
The Last Crusade “A New Age Dawns” #1 (Epica)- choir in conjunction with drums; guitar in
conjunction with strings; double time drums with guitar while strings take the lead
Blank Infinity (Epica)- piano establishes theme and then full band takes it
Mother of Light “A New Age Dawns” #2 (Epica)- urgent sound established with theme and
variation of melody
Unleashed (Epica)- long sustained guitars under choir; terrifying Kingdom of Heaven (Epica)environmental composition; dissonant; slow build
White Waters (Epica)- guitar melody with ethereal vocals; environmental; addition of brighter
stringed instrument
Design Your Universe (Epica)- slow build of percussion/brass until it explodes; choir that doesn't
appear to be adhering to the meter at moments
Sancta Terra (Epica)- orchestral instruments establish and then are joined
Triumph or Defeat (Epica)- driving drums; piano punctuated with vocals; constant build of same
melody
Deep Water Horizon (Epica)- flowing; watery; smooth; fluid; evolves into a flowing piece of
metal; use of pauses
Kashmir (Led Zeppelin)- driving; mix of instruments; constantly moving Under the Weeping
Moon (Opeth)- element of surprise after beautiful opening
Sound Design
Things to Consider
Music
I would like to underscore this show almost completely. Music can add greatly to the storytelling
of Penelope and can help to lend a voice to those who have never been given one, or to further
deny them of a voice. I believe silence should be a design choice within the context of this show.
Will this show be traditional Ancient Greek music or abstract?
Songs
Multiple songs are sung by the chorus in this production. Who will compose these songs?
Soundscapes
There are many opportunities for soundscapes, including Hades. These can add greatly to the
design of this production. The use of the theater itself as a sound design device can create an allencompassing experience for the audience.
Time Changes
How will we differentiate between Ancient Greece and modern day Hades?
Sound Effects
I would like to make the sound effects of this play as abstract as possible. I would also like to
utilize the theater itself as a device of sound design. During enormous moments, I would like to
have a number of effects (including voices and abstracted sounds) coming from all over the
house.
Practicals
Will the Suitor be actually playing an instrument while composing a song for Penelope? If so,
what kind of instrument? Will there be any other live instruments in this play?
Works Cited
Calter, Paul (1998). "Pythagoras & Music of the Spheres". Course syllabus, Math 5:
Geometry in Art and Architecture, unit 3. Dartmouth .edu (accessed 1 March 2014).
Comotti, Giovanni. (1989). Music in Greek and Roman Culture. Baltimore: Johns Hopkins
University Press. ISBN 0-8018-3364-7.
Goodrich, S. G. (1849). A pictoral history of Greece: Ancient and Modern. New York:
Huntington and Savage.
Graves, Robert (1955). The Greek Myths. Mt. Kisco, New York: Moyer Bell.
Hall Jonathan M. (2007). A History of the Archaic Greek World. Wiley-Blackwell. ISBN
978-0-631-22667-3.
Henderson, Isobel (1957). "Ancient Greek Music". In The New Oxford History of Music,
vol.1: Ancient and Oriental Music, edited by Egon Wellesz, pp. 336–403. Oxford: Oxford
University Press.
Mathiesen, Thomas J. (1999). Apollo’s Lyre: Greek Music and Music Theory in Antiquity
and the Middle Ages. Lincoln, NE: University of Nebraska Press.
Maura Ellyn; Maura McGinnis (2004). Greece: A Primary Source Cultural Guide. The
Rosen Publishing Group. p. 8. ISBN 978-0-8239-3999-2.
Slavery in Ancient Greece. Brittanica Student Encyclopedia.
Strunk, Oliver; Leo Treitler, and Thomas Mathiesen (eds.) (1997). Source Readings in Music
History: Greek Views of Music, revised edition. New York: W.W. Norton & Company.
Ulrich, Homer, and Paul Pisk (1963). A History of Music and Musical Style. New York:
Harcourt Brace Jovanoich.
Wardle, Thomas. (1835). The history of Ancient Greece, its colonies and conquests from the
earliest accounts til division of the Macedonian Empire in the East.
Wellesz, Egon (ed.) (1957). Ancient and Oriental Music. New Oxford History of Music 1.
Oxford and New York: Oxford University Press. Reprinted 1999. ISBN 0-19-316301-2.
West, M. L. Ancient Greek Music (1992). Oxford and New York: Oxford University
Press. ISBN 0-19-814897-6. (Clarendon Paperback reprint 1994. ISBN 0-19-814975-1.)
The Penelopiad
Script Analysis
Act One
Scene 1: Penelope states that her side of the story is never told.
Scene 2: The Maids interrupt to remind her that their voices were never heard because of her.
Scene 3: Penelope tells the story of the prophecy made in her childhood that she would “weave
her father’s shroud.”
Scene 4: The Maids express the harshness of their childhoods compared to Penelope’s.
Scene 5: Penelope talks about biding her afterlife and the patience for which she is remembered.
Scene 6: Penelope talks about how her marriage to Odysseus came to pass.
Scene 7: Penelope talks of her first night with Odysseus and the way she came to love him.
Scene 8: The Maids sing about how their lives would be different in Penelope’s place.
Scene 9: Penelope speaks about adjusting to life in Ithaca.
Scene 10: The Maids wonder if they should have killed Telemachus as a child, before he had the
chance to kill them.
Scene 11: Penelope tells of her evenings in bed with Odysseus.
Scene 12: Penelope and Odysseus learn of the Trojan War, and Odysseus sets off to fight.
Scene 13: Penelope waits ten years while the war is fought and Telemachus grows.
Scene 14: Penelope learns that Troy has fallen and of the atrocities of the war.
Scene 15: Penelope waits for Odysseus to return, but news stops coming in.
Act Two
Scene 16: Helen taunts Penelope about the death of the Maids.
Scene 17: Suitors begin to arrive at Penelope and Odysseus’ household.
Scene 18: Penelope struggles to find a solution for the Suitors.
Scene 19: Penelope announces that she will weave a shroud for her father-in-law and then pick a
husband.
Scene 20: Penelope and the Maids gather in the nighttime to unweave the Shroud. Penelope asks
the Maids to spy on the Suitors by any means necessary.
Scene 21: The Maids are violently raped and assaulted by the Suitors.
Scene 22: The Maids sing about the hardships of their lives.
Scene 23: Penelope and Eurycleia discover that Telemachus has run away to find his father.
Scene 24: Telemachus returns, having seen Helen and Menelaus.
Scene 25: The Suitors discover the Maids and Penelope unweaving in the night.
Scene 26: Penelope has a nightmare about her missing husband.
Scene 27: Odysseus returns home in disguise with a plan to get rid of the Suitors.
Scene 28: Eurycleia holds a contest for Penelope’s hand, which Odysseus wins before revealing
himself. He then slays the Suitors with Telemachus and orders the Maids to be hanged.
Scene 29: Penelope discovers to her horror that the Maids have been hanged.
Scene 30: The Maids invoke the Furies to get revenge on Odysseus.
Scene 31: Penelope and Odysseus are reunited, but things are never the same between them.
Scene 32: The Maids continue to haunt Penelope and Odysseus in Hades.
Audio Equipment List
The Penelopiad
Ohio University’s Forum Theater
PRODUCER: Michael Lincoln
GENERAL MANAGER: Michael Lincoln
SOUND DESIGNER: Megan Culley
ASSOCIATE SOUND DESIGNER: Claire Autran
PRODUCTION MANAGER: Lowell Jacobs
PRODUCTION AUDIO ENGINEER: Carson Schumacher
LOAD IN: September 10–October 4, 2015
Forum Theater
Ohio University
ATHENS, OHIO
RENTAL RETURN DATE: October 25, 2015
Audio Equipment List
The Penelopiad
Ohio University’s Forum Theater
GENERAL NOTES- PLEASE READ
-All speakers are to be hung appropriately and must include a
safety
-All cables are to be labeled at both connectors
-Any substitutions or revisions must be fully disclosed and
discussed with the designer
Audio Equipment List
The Penelopiad
Ohio University’s Forum Theater
Speakers
10
2
3
2
1
1
MCM 8891
APOGEE AE5
KLH 403
MACKIE S410S SUBWOOFERS
ELECTROVOICE TL606DW SUBWOOFER
TOA SUBWOOFER
AMPLIFIERS
1
1
3
1
1
1
APOGEE DPA-500 RV
BEHRINGER EUROPOWER EPQ304
QSC 700
CROWN XTI 1000
CROWN XTI 2000
CROWN D75
Desk
1
BEHRINGER X32 PRODUCER
Interfaces
1
1
PRESONUS FIREPOD STUDIO
BEHRINGER S16 DIGITAL SNAKE
Computer/Accessories
1
1
1
1
1
1
1
1
1
MAC MINI
QLAB 3 PRO BUNDLE
MONITOR
APPLE KEYBOARD
MOUSE
KEYBOARD USB
VGA
DVI TO VGA ADAPTER
TEAMVIEWER APPLICATION
1
IPAD WITH QLAB 3 AND BEHRINGER X32 QMIX
Cables/Snakes
15
15
20
20
3
2
1
10
10
1
5
4
1
5’ XLR
10’ XLR
15’/20’ XLR
25’ XLR
50’ XLR
75’ XLR
100’ XLR
BARE WIRE
BARE WIRE TO NL4
BARE WIRE TO TRS
TRS
XLR SNAKE
XLR TO TRS SNAKE
Com/Headsets
1
1
13
1
11
CLEARCOM MATRIX
CLEARCOM BASE STATION
SINGLE CHANNEL COM PACK
TWO CHANNEL COM PACK
HEADSETS
Rigging
1
6
5
5
20
20
10
MANUAL WINCH
LENGTHS OF CHAIN
SHACKLES
BOLTS
PLATES
WASHERS
6” hex BOLTS
Connectors
10
10
20
10
10
FEMALE XLR
MALE XLR
NL4
TRS
TS
WIRELESS NETWORK
1
WIRELESS INTERNET ROUTER
Adapters
10
10
3
1
MALE TO MALE XLR
FEMALE TO FEMALE XLR
XLR SPLITTER
CLEAR COM TO TWO XLR SPLITTER
Perishables
1
2
6
1
20
10
15
50
TIE LINE SPOOL
GAFF TAPE ROLLS
ELECTRICAL TAPE ROLLS
PRINTABLE LABEL TAPE
RACK SCREWS
WIRE NUTS
BANANA CLIPS
AA BATTERIES
Mics/Receivers
1
1
1
1
SHURE PGX4 WIRELESS TRANSMITTER
SHURE PGX4 WIRELESS RECEIVER
SHURE PGX4 WIRELESS RECEIVER POWER
COUNTRYMAN MICROPHONE ELEMENT (BLACK)
Power
1
5
20
FURMAN POWER CONDITIONER
EDISON EXTENSION CABLE
IEC CABLE
Program Feed
1
70V AMPLIFIER
TECH AMENITIES
1
1
1
1
TECH TABLE
DESK LAMP WITH GEL
POWER STRIP
ETHERNET CABLE
VECTORWORKS EDUCATIONAL VERSION
VECTORWORKS EDUCATIONAL VERSION
ThePenelopiad
OhioUniversityForumTheater
Channel
Input
CH 1
USB CH 1
CH 2
USB CH 2
CH 3
USB CH 3
CH 4
USB CH 4
CH 5
USB CH 5
CH 6
USB CH 6
CH 7
USB CH 7
CH 8
USB CH 8
CH 9
USB CH 9
CH 10
USB CH 10
CH 11
USB CH 11
CH 12
USB CH 12
CH 13
USB CH 13
CH 14
USB CH 14
CH 15
USB CH 15
CH 16
USB CH 16
CH 17
USB CH 17
CH 18
IN 18
CH 19
IN 19
CH 20
CH 21
CH 22
CH 23
CH 24
CH 25
CH 26
CH 27
CH 28
CH 29
CH 30
CH 31
CH 32
Preparedby:MeganCulley
Input Name
QLAB 1
QLAB 2
QLAB 3
QLAB 4
QLAB 5
QLAB 6
QLAB 7
QLAB 8
QLAB 9
QLAB 10
QLAB 11
QLAB 12
QLAB 13
QLAB 14
QLAB 15
QLAB 16
QLAB 17
WIRELESS MIC
GOD MIC
Routing
ByChannel
Routing
MIX BUS 1
MIX BUS 2
MIX BUS 3
MIX BUS 4
MIX BUS 5
MIX BUS 6
MIX BUS 7
MIX BUS 8
MIX BUS 9
MIX BUS 10
MIX BUS 11
MIX BUS 12
MIX BUS 13
MIX BUS 14
LINE OUT 1
LINE OUT 2
LINE OUT 3
MIX BUS 1 & 2
MIX BUS 1 & 2
SoundDesigner:MeganCulley
AssociateSoundDesigner:ClaireAutran
Speaker Location
Output
MAIN LEFT
OUT 1
MAIN RIGHT
OUT 2
UPSTAGE LEFT
OUT 3
DOWNSTAGE LEFT
OUT 4
DOWNSTAGE RIGHT
OUT 5
UPSTAGE RIGHT
OUT 6
HOUSE UPSTAGE LEFT
OUT 7
HOUSE DOWNSTAGE LEFT
OUT 8
VOMITORIUM
AUX 1
HOUSE DOWNSTAGE RIGHT
AUX 2
HOUSE UPSTAGE RIGHT
AUX 3
DOWNFIRE
AUX 4
BACKSTAGE
AUX 5
HOUSE SUBWOOFER LEFT
AUX 6
HOUSE SUBWOOFER RIGHT
OUT 1
VOMITORIUM SUBWOOFER
OUT 2
STAGE SUBWOOFER
OUT 3
MAIN LEFT AND RIGHT
OUT 1 & 2
MAIN LEFT AND RIGHT
OUT 1 & 2
Edited:October1,2015
ThePenelopiad
OhioUniversityForumTheater
Input
Channel
USB CH 1
CH 1
USB CH 2
CH 2
USB CH 3
CH 3
USB CH 4
CH 4
USB CH 5
CH 5
USB CH 6
CH 6
USB CH 7
CH 7
USB CH 8
CH 8
USB CH 9
CH 9
USB CH 10
CH 10
USB CH 11
CH 11
USB CH 12
CH 12
USB CH 13
CH 13
USB CH 14
CH 14
USB CH 15
CH 15
USB CH 16
CH 16
USB CH 17
CH 17
IN 18
CH 18
IN 19
CH 19
CH 20
CH 21
CH 22
CH 23
CH 24
CH 25
CH 26
CH 27
CH 28
CH 29
CH 30
CH 31
CH 32
Preparedby:MeganCulley
Input Name
QLAB 1
QLAB 2
QLAB 3
QLAB 4
QLAB 5
QLAB 6
QLAB 7
QLAB 8
QLAB 9
QLAB 10
QLAB 11
QLAB 12
QLAB 13
QLAB 14
QLAB 15
QLAB 16
QLAB 17
WIRELESS MIC
GOD MIC
Routing
ByInput
Routing
MIX BUS 1
MIX BUS 2
MIX BUS 3
MIX BUS 4
MIX BUS 5
MIX BUS 6
MIX BUS 7
MIX BUS 8
MIX BUS 9
MIX BUS 10
MIX BUS 11
MIX BUS 12
MIX BUS 13
MIX BUS 14
LINE OUT 1
LINE OUT 2
LINE OUT 3
MIX BUS 1 & 2
MIX BUS 1 & 2
SoundDesigner:MeganCulley
AssociateSoundDesigner:ClaireAutran
Speaker Location
Output
MAIN LEFT
OUT 1
MAIN RIGHT
OUT 2
UPSTAGE LEFT
OUT 3
DOWNSTAGE LEFT
OUT 4
DOWNSTAGE RIGHT
OUT 5
UPSTAGE RIGHT
OUT 6
HOUSE UPSTAGE LEFT
OUT 7
HOUSE DOWNSTAGE LEFT
OUT 8
VOMITORIUM
AUX 1
HOUSE DOWNSTAGE RIGHT
AUX 2
HOUSE UPSTAGE RIGHT
AUX 3
DOWNFIRE
AUX 4
BACKSTAGE
AUX 5
HOUSE SUBWOOFER LEFT
AUX 6
HOUSE SUBWOOFER RIGHT
OUT 1
VOMITORIUM SUBWOOFER
OUT 2
STAGE SUBWOOFER
OUT 3
MAIN LEFT AND RIGHT
OUT 1 & 2
MAIN LEFT AND RIGHT
OUT 1 & 2
Edited:October1,2015
ThePenelopiad
OhioUniversity'sForumTheater
Output
OUT 1
OUT 2
OUT 3
OUT 4
OUT 5
OUT 6
OUT 7
OUT 8
AUX 1
AUX 2
AUX 3
AUX 4
AUX 5
AUX 6
OUT 1
OUT 2
OUT 3
OUT 1 & 2
OUT 1 & 2
Patch Point
Routing
Speaker/AmpInformation
SoundDesigner:MeganCulley
AssociateSoundDesigner:ClaireAutran
Aux/Bus
Amp
Amp Number
Speaker Type
Speaker Location
MIX BUS 1
MIX BUS 2
MIX BUS 3
MIX BUS 4
MIX BUS 5
MIX BUS 6
MIX BUS 7
MIX BUS 8
MIX BUS 9
MIX BUS 10
MIX BUS 11
MIX BUS 12
MIX BUS 13
MIX BUS 14
LINE OUT 1
LINE OUT 2
LINE OUT 3
MIX BUS 1 & 2
MIX BUS 1 & 2
Apogee DPA-500 RV
Apogee DPA-500 RV
Behringer Europower EPQ304
Behringer Europower EPQ304
Behringer Europower EPQ304
Behringer Europower EPQ304
QSC 700
QSC 700
QSC 700
QSC 700
QSC 700
QSC 700
Crown D75
Crown XTi 1000
Crown XTi 1000
Crown XTi 2000
Crown XTi 1000
A1C1
A1C2
A2C1
A2C2
A2C3
A2C4
A3C1
A3C2
A4C1
A4C2
A5C1
A5C2
A6C1
A7C1
A7C2
A8C1
A9C1
Apogee AE5
Apogee AE5
MCM 8891
MCM 8891
MCM 8891
MCM 8891
MCM 8891
MCM 8891
MCM 8891
MCM 8891
MCM 8891
MCM 8891
KLH 403A
Mackie S410s
Mackie S410s
ElectroVoice TL606DW
TOA
MAIN LEFT
MAIN RIGHT
UPSTAGE LEFT
DOWNSTAGE LEFT
DOWNSTAGE RIGHT
UPSTAGE RIGHT
HOUSE UPSTAGE LEFT
HOUSE DOWNSTAGE LEFT
VOMITORIUM
HOUSE DOWNSTAGE RIGHT
HOUSE UPSTAGE RIGHT
DOWNFIRE
BACKSTAGE
HOUSE SUBWOOFER LEFT
HOUSE SUBWOOFER RIGHT
VOMITORIUM SUBWOOFER
STAGE SUBWOOFER
MAIN LEFT AND RIGHT
MAIN LEFT AND RIGHT
Preparedby:MeganCulley
Edited:October1,2015
The Penelopiad
Ohio University's Forum Theater
Routing
Qlab Channel Routing
Sound Designer: Megan Culley
Associate Sound Designer: Claire Autran
Qlab
Interface IN
In Patch
Out Patch
Interface OUT
Location
Speaker Type
Amp/Powered
1
USB CH 1
CH 1
MIX BUS 1
OUT 1
MAIN LEFT
Apogee AE5
Apogee DPA-500 RV
2
USB CH 2
CH 2
MIX BUS 2
OUT 2
MAIN RIGHT
Apogee AE5
Apogee DPA-500 RV
3
USB CH 3
CH 3
MIX BUS 3
OUT 3
UPSTAGE LEFT
MCM 8891
Behringer Europower EPQ304
4
USB CH 4
CH 4
MIX BUS 4
OUT 4
DOWNSTAGE LEFT
MCM 8891
Behringer Europower EPQ304
5
USB CH 5
CH 5
MIX BUS 5
OUT 5
DOWNSTAGE RIGHT
MCM 8891
Behringer Europower EPQ304
6
USB CH 6
CH 6
MIX BUS 6
OUT 6
UPSTAGE RIGHT
MCM 8891
Behringer Europower EPQ304
7
USB CH 7
CH 7
MIX BUS 7
OUT 7
HOUSE UPSTAGE LEFT
MCM 8891
QSC 700
8
USB CH 8
CH 8
MIX BUS 8
OUT 8
HOUSE DOWNSTAGE LEFT
MCM 8891
QSC 700
9
USB CH 9
CH 9
MIX BUS 9
AUX 1
VOMITORIUM
MCM 8891
QSC 700
10
USB CH 10
CH 10
MIX BUS 10
AUX 2
HOUSE DOWNSTAGE RIGHT
MCM 8891
QSC 700
11
USB CH 11
CH 11
MIX BUS 11
AUX 3
HOUSE UPSTAGE RIGHT
MCM 8891
QSC 700
12
USB CH 12
CH 12
MIX BUS 12
AUX 4
DOWNFIRE
MCM 8891
QSC 700
13
USB CH 13
CH 13
MIX BUS 13
AUX 5
BACKSTAGE
KLH 403
Crown D75
14
USB CH 14
CH 14
MIX BUS 14
AUX 6
HOUSE SUBWOOFER LEFT
Mackie S410s
Crown XTi 1000
15
USB CH 15
CH 15
LINE OUT 1
LINE OUT 1
HOUSE SUBWOOFER RIGHT
Mackie S410s
Crown XTi 1000
16
USB CH 16
CH 16
LINE OUT 2
LINE OUT 2
VOMITORIUM SUBWOOFER
ElectroVoice TL606DW
Crown XTi 2000
17
USB CH 17
CH 17
LINE OUT 3
LINE OUT 3
STAGE SUBWOOFER
TOA
Crown XTi 2000
Preparedby:MeganCulley
Edited:October1,2015
VECTORWORKS EDUCATIONAL VERSION
CL
14
13
12
11
10
COUNTERWEIGHT LOCKING RAIL
9
8
7
6
5
4
PLAT 1B
STAIR A
+7'-2 5/8"
PLAT 1A
+7'-9 1/2"
F
STAIR
3
A
2
STAIR B
1
PLAT 2
A
STAIR G
STAIR D
PLAT 4
+7'-0"
E
STAIR
STAIR C
PLASTER LINE
+3'-0"
A
PLAT 3
+4'-6"
+3'-0"
RAMP UNIT
A
B
A
+2'-9"
TRANSITIONAL
ZONE
C
+2'-5"
D
"BED"
E
+4 1/8"
I-BEAM
B
I
H
G
F
TRANSITIONAL
ZONE A
J
B
NOTE: THIS SECTION DOES NOT
INCLUDE THE REST OF THE SPACE.
IT ENDS AT THE WALL AT THE END
OF THE RAMP.
N
M
L
K
B
A
A/B
D
A
CL
D
C
C
PLATE:
1
SCALE:
VECTORWORKS EDUCATIONAL VERSION
PENELOPIAD
OF
Ohio University Forum Theatre
3
Director: David Haugen
TD: Ryan Wantland
1/4" = 1'-0"
DRAFTED BY:
Set Designer: Glenn Pepe
Advisor: David Russell
Ground Plan &
CL Section
[email protected]
Glenn Pepe
(845) 518 - 0405
Date:
Version:
4/22/15
1
www.GlennPepe.com
VECTORWORKS EDUCATIONAL VERSION
CL
14
13
12
11
10
COUNTERWEIGHT LOCKING RAIL
9
8
7
6
5
4
PLAT 1B
STAIR A
+7'-2 5/8"
PLAT 1A
+7'-9 1/2"
F
STAIR
3
B
2
STAIR B
1
PLAT 2
B
STAIR G
STAIR D
PLAT 4
+7'-0"
E
STAIR
STAIR C
PLASTER LINE
+3'-0"
A
PLAT 3
+4'-6"
+3'-0"
RAMP UNIT
B
B
B
+2'-9"
TRANSITIONAL
ZONE
C
+2'-5"
D
"BED"
E
+4 1/8"
I-BEAM
NOTE: THIS SECTION DOES NOT
INCLUDE THE REST OF THE SPACE.
IT ENDS AT THE WALL AT THE END
OF THE RAMP.
N
M
L
K
J
I
H
G
F
TRANSITIONAL
ZONE B
B
B
A
CL
A
A
PLATE:
1
SCALE:
VECTORWORKS EDUCATIONAL VERSION
PENELOPIAD
OF
Ohio University Forum Theatre
3
Director: David Haugen
TD: Ryan Wantland
1/4" = 1'-0"
DRAFTED BY:
Set Designer: Glenn Pepe
Advisor: David Russell
Ground Plan &
CL Section
[email protected]
Glenn Pepe
(845) 518 - 0405
Date:
Version:
4/22/15
1
www.GlennPepe.com
The Penelopiad
Ohio University Division of Theatre
Sound Cue Sheet
Number Act Scene Page
Cue Name
1
0
0
0 Preshow
5
0
0
0 Fade and Stop Preshow
10
1
1
3 Prologue
15
1
1
4 Fade and Stop Prologue
20
1
2
5 Fade and Stop Hades
25
1
3
6 Royals
30
1
3
6 Royals
35
1
3
6 The Oracle/Fade and Stop Hades
40
1
3
7 Fade and Stop Oracle Drums
45
1
3
6 Daughter
50
1
3
7 Father
55
1
3
7 Fade and Stop The Oracle
60
1
3
7 Falling and Splash
65
1
3
8 Ballet of the Ducks
70
1
3
8 Fade and Stop Ballet of the Ducks
75
1
3
8 Naiad Mother
80
1
3
9 Fade and Stop Naiad Mother
85
1
4
9 Kiddie Mourn, a Lament
90
1
4
10 Hades/Asphodel
95
1
5
11 Squeaking
100
1
5
11 Microphone Pop
105
1
5
12 Zeus
110
1
6
12 Spartan Women
115
1
6
13 Fade and Stop Spartan Women
120
1
6
14 Odysseus from Ithaca
125
1
6
16 Fade and Stop Odysseus from Ithaca
130
1
6
16 Helen's Entrance
135
1
6
17 Fade and Stop Helen's Entrance
140
1
6
18 The Race
145
1
6
18 Level Down Race
150
1
6
18 Level Up Race
155
1
6
18 Fade and Stop Race
Prepared by: Megan Culley
Director: David Haugen
Sound Designer: Megan Culley
Associate Sound Designer: Claire Autran
Stage Manager: Kimiko Demura
Line/Action
Before house open
House is closed
House out
Penelope is set at the microphone
The Maids enter with jump ropes
“King Icarius of Sparta”
“My mother was a Naiad”
“Or it never hurts immediately.”
The Oracle is in place
After “A daughter.”
“...something with father in it.”
The Oracle leaves
The Maids throw the Penelope bundle
“...came to my rescue”
Icarius starts forward to fetch Penelope
“...daughter of a Naiad.”
“...absentmindedness or irritation.”
After “count on family support”
“in our nights”
After “...a great deal of squeaking.”
Annie unplugs the microphone
Penelope throws her arm to the sky
After “My marriage was arranged.”
After “...substantial dowry.”
After “From Ithaca.”
“You'll cry.”
Helen enters
Helen exits
Race begins
The Suitors exit the Forum
The Suitors enter the Forum
“Odysseus?”
Edited October 2, 2015
The Penelopiad
Ohio University Division of Theatre
160
165
170
175
180
185
190
195
200
205
210
215
220
225
230
235
240
245
250
255
260
265
270
275
280
285
290
295
300
305
310
315
320
Sound Cue Sheet
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
6
6
6
6
6
7
7
7
7
8
8
9
9
9
9
10
11
11
11
11
12
12
12
13
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14
14
15
18
19
19
20
21
21
22
22
23
23
24
25
25
25
26
28
29
31
31
32
33
34
35
35
37
37
38
38
39
40
2
2
16
16
42
42
Prepared by: Megan Culley
The Wedding
Fade and Stop The Wedding
Fade and Stop Naiad Mother
The Reception
Transition to Wedding Night
The Wedding Night
Penelope and Odysseus
Penelope Voiceover
Fade and Stop Penelope and Odysseus
If I Was a Princess
Devamp If I Was a Princess
Landing in Ithaca
Meet the Rents
Fade and Stop Meet the Rents
The Birth of Telemachus An Idyll
The Birth/Fade Birth of Telemachus
Dinner for Schmucks
Telemachus Crying
Evenings in Bed
The Drums of War
Helen Ruins Penelope's Life
Drums of War
Hades
Fade and Stop Hades
Business as Usual
Fade and Stop Business as Usual
Humming
The Fall of Troy
Fade and Stop Fall of Troy
The Wiley Sea Captain
INTERMISSION
Fade and Stop Intermission
Hades/Helen's Theme
Director: David Haugen
Sound Designer: Megan Culley
Associate Sound Designer: Claire Autran
Stage Manager: Kimiko Demura
“Princess Penelope”
Naiad Mother enters
“Water does.”
After all say “The fair and intellegent Penelope!”
“...and my trembling.”
Odysseus pulls Penelope in close
Penelope begins undressing
Penelope goes under the fans
“...reciprocated them.”
After “...only too pleased to go.”
Penelope finishes her monologue
“Ithaca! Ithaca!”
Odysseus and Penelope walk towards parents
Odysseus exits
Eurycleia exits
Penelope gives birth
“It wasn't mine.”
After “He said it to me!”
“...evenings in bed with Odysseus.”
“...the key to that?”
Odysseus and Eurycleia enter
Odysseus leaves
“Then everything would have been fine!”
“...indulged by all.”
Eurycleia exits
“I wasn't so fond of that part.”
“And when darkness fell...”
After “The streets ran red with blood.”
“Stop it!”
After “...avidly to them all.”
Intermission is over
Beginning of Act II
Edited October 2, 2015
The Penelopiad
Ohio University Division of Theatre
325
330
335
340
345
350
355
360
365
370
375
380
385
390
395
400
405
410
415
420
425
430
435
440
445
450
455
460
465
470
475
480
485
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
Prepared by: Megan Culley
16
17
17
17
17
17
17
17
17
17
17
17
18
18
18
18
19
19
19
19
19
20
20
21
21
21
21
21
21
21
21
21
22
Sound Cue Sheet
43
44
45
47
47
47
47
47
47
47
47
47
48
49
49
49
49
50
50
50
51
52
52
54
56
56
56
56
56
56
56
56
57
Fade and Stop Hades/Helen's Theme
The Suitors Arrive
Fade and Stop The Suitors Arrive
Butchery
Stab 1
Stab 2
Stab 3
Stab 4
Stab 5
Stab 6
Bye Bye Wilbur
Fade and Stop Butchery
Hades/Penelope Voiceover
Naiad Whisper 1
Naiad Whisper 2
Fade Hades
The Shroud
Fade The Shroud
Weaving 1
Devamp Weaving
Fade and Stop Weaving
Nighttime
Weaving 2
The Unpleasant Banquet
The Rape of Melantho
Drums Only
The Rape of Melantho
Drums Only
The Rape of Melantho
Drums Only
The Rape of Melantho
Fade The Rape of Melantho
Dreamboats, a Ballad
Director: David Haugen
Sound Designer: Megan Culley
Associate Sound Designer: Claire Autran
Stage Manager: Kimiko Demura
Helen exits
“...and was flickering out. First...”
Penelope exits
“Heap up them platters!”
The Suitors slice the pigs throw
Suitors reach and pull guts
Suitors reach and pull guts
Suitors reach and pull guts
Suitors reach and pull guts
Suitors reach and pull guts
Suitors frantically reach and pull guts
Kelsey gets up to toast
After “...fuck her to death!”
After “...daughter of a Naiad.”
After “I told myself.”
“Finally, a scheme occurred to me.”
The suitors are gathered
“Fairest Penelope!”
After “...happiest man on earth!”
The Maids are gathered
“Shame on you, faithless mother.”
The Maids gather in the nighttime
The Maids gather around the Shroud
The suitors are gathered
“Fair shares for all!”
Kelsey throws second Maid
Back to group
Isolation
Back to group
Isolation
Back to group
The Maids drop to the floor
On the floor
Edited October 2, 2015
The Penelopiad
Ohio University Division of Theatre
490
495
500
505
510
515
520
525
530
535
540
545
550
555
560
565
570
575
580
585
590
595
600
605
610
615
620
625
O
630
635
640
645
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
Prepared by: Megan Culley
22
22
22
22
23
23
24
24
24
25
25
25
26
26
26
26
27
27
27
27
27
28
28
28
28
28
28
28
28
28
28
28
28
Sound Cue Sheet
57
57
57
57
58
59
60
61
63
63
63
64
65
66
66
67
69
69
69
73
73
73
73
74
74
75
75
75
75
75
75
75
76
But then the morning wakes us up
Once more we toil and slave
And hoist our skirts at their command
For every prick and knave
Telemachus Astray
Fade and Stop Telemachus Astray
Telemachus Returns
Eurycleia Enters
Fade and Stop Eurycleia Enters
Weaving 3
Devamp Weaving 3
Caught in the Act
Hades
Nightmares
Devamp Nightmares
Fade and Stop Nightmares
The Dirty Old Beggar
Fade and Stop The Dirty Old Beggar
Penelope and Odysseus
Fade Penelope and Odysseus
Large Door
Enter the Suitors
The Great Bow of Odysseus
Arrow
Arrow
Slaughter in the Hall
Arrow
Arrow
Stab HOT KEY “O”
Level Up Slaughter in the Hall
Stab 13/Fade and Stop Slaughter in the Hall
Release Stab
The Hanging of the Maids
Director: David Haugen
Sound Designer: Megan Culley
Associate Sound Designer: Claire Autran
Stage Manager: Kimiko Demura
“But then”
“Once more”
“And hoist”
“For e-very”
“...in search of his father.”
Eurycleia exits
“...what would your father say?”
Eurycleia enters
“...didn't murder you.”
Telemachus stands up
Bradley is set
After “...like daughters to me.”
“Now-you-must-choose!”
Penelope is handed the cup
Naiad finishes her monologue
Penelope wakes up
The Suitors enter
The Suitors exit
Penelope enters
Penelope walks upstage
Eurycleia shuts the door
The Suitors enter
“...great bow of Odysseus.”
Odysseus shoots the arrow
Odysseus shoots the arrow
After “KILL HIM!”
Odysseus shoots the arrow
Odysseus shoots the arrow
Anytime anyone is stabbed
Telemachus helps Odysseus get up
Odysseus and Telemachus stab together
Odysseus and Telemachus pulls out spears
“Kill them.”
Edited October 2, 2015
The Penelopiad
Ohio University Division of Theatre
650
655
660
665
670
675
680
685
690
695
700
705
710
715
720
725
730
735
740
745
750
755
760
765
770
775
780
785
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
Prepared by: Megan Culley
28
28
29
29
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
30
31
31
31
31
31
31
Sound Cue Sheet
76
76
76
77
78
78
78
78
78
78
78
78
78
78
79
79
79
79
79
79
79
79
79
80
80
82
82
82
Queen Penelope is a very clumsy weaver
Hung
Penelope's Revelation
The Ones Who'd Been Raped
The Invocation of the Furies
O Angry Ones
O Furies
Last Hope
On Our Behalf
None in Life
Wherever He Goes
One Life to Another
He Puts On
He May Take
Hunt Him Down
Dog His Footsteps
In Hades
In Our Forms
Our Ruined Forms
Pitiable Forms
Be At Rest
Fade and Stop The Invocation of the Furies
The Bed of Many Secrets Backing
The Bed of Many Secrets Melody
Fade and Stop The Bed of Many Secrets
No Voice
Fade No Voice
Curtain
Director: David Haugen
Sound Designer: Megan Culley
Associate Sound Designer: Claire Autran
Stage Manager: Kimiko Demura
Ready to pull up in the silks
Drop
“What?”
“Your husband is waiting to see you.”
After “...waiting to see you.”
“O Angry Ones”
“O Furies”
“You are our last hope!”
“...on our behalf!”
“...none in life!”
“...wherever he goes!”
“...from one life to another!”
“...he puts on!”
“...he may take!”
“Hunt him down!”
“Dog his footsteps!”
“...or in Hades!”
“...in our forms!”
“...our ruined forms!”
“...our pitiable corpses!”
“...never be at rest!”
Maids exit
Odysseus enters
After “I'm home now.”
“Or so we told each other.”
Maids begin humming
“They never stay.”
Edited October 2, 2015
The Penelopiad
Ohio University Division of Theatre
Sound Cue Sheet
Number Act Scene Page
Cue Name
1
0
0
0 Preshow
5
0
0
0 Fade and Stop Preshow
10
1
1
3 Prologue
15
1
1
4 Fade and Stop Prologue
20
1
2
5 Fade and Stop Hades
25
1
3
6 Royals
30
1
3
6 Royals
35
1
3
6 The Oracle/Fade and Stop Hades
40
1
3
7 Fade and Stop Oracle Drums
45
1
3
6 Daughter
50
1
3
7 Father
55
1
3
7 Fade and Stop The Oracle
60
1
3
7 Falling and Splash
65
1
3
8 Ballet of the Ducks
70
1
3
8 Fade and Stop Ballet of the Ducks
75
1
3
8 Naiad Mother
80
1
3
9 Fade and Stop Naiad Mother
85
1
4
9 Kiddie Mourn, a Lament
90
1
4
10 Hades/Asphodel
95
1
5
11 Squeaking
100
1
5
11 Microphone Pop
105
1
5
12 Zeus
110
1
6
12 Spartan Women
115
1
6
13 Fade and Stop Spartan Women
120
1
6
14 Odysseus from Ithaca
125
1
6
16 Fade and Stop Odysseus from Ithaca
130
1
6
16 Helen's Entrance
135
1
6
17 Fade and Stop Helen's Entrance
140
1
6
18 The Race
145
1
6
18 Level Down Race
150
1
6
18 Level Up Race
155
1
6
18 Fade and Stop Race
Prepared by: Megan Culley
Director: David Haugen
Sound Designer: Megan Culley
Associate Sound Designer: Claire Autran
Stage Manager: Kimiko Demura
Line/Action
Before house open
House is closed
House out
Penelope is set at the microphone
The Maids enter with jump ropes
“King Icarius of Sparta”
“My mother was a Naiad”
“Or it never hurts immediately.”
The Oracle is in place
After “A daughter.”
“...something with father in it.”
The Oracle leaves
The Maids throw the Penelope bundle
“...came to my rescue”
Icarius starts forward to fetch Penelope
“...daughter of a Naiad.”
“...absentmindedness or irritation.”
After “count on family support”
“in our nights”
After “...a great deal of squeaking.”
Annie unplugs the microphone
Penelope throws her arm to the sky
After “My marriage was arranged.”
After “...substantial dowry.”
After “From Ithaca.”
“You'll cry.”
Helen enters
Helen exits
Race begins
The Suitors exit the Forum
The Suitors enter the Forum
“Odysseus?”
Edited October 2, 2015
The Penelopiad
Ohio University Division of Theatre
160
165
170
175
180
185
190
195
200
205
210
215
220
225
230
235
240
245
250
255
260
265
270
275
280
285
290
295
300
305
310
315
320
Sound Cue Sheet
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
6
6
6
6
6
7
7
7
7
8
8
9
9
9
9
10
11
11
11
11
12
12
12
13
13
13
14
14
14
15
18
19
19
20
21
21
22
22
23
23
24
25
25
25
26
28
29
31
31
32
33
34
35
35
37
37
38
38
39
40
2
2
16
16
42
42
Prepared by: Megan Culley
The Wedding
Fade and Stop The Wedding
Fade and Stop Naiad Mother
The Reception
Transition to Wedding Night
The Wedding Night
Penelope and Odysseus
Penelope Voiceover
Fade and Stop Penelope and Odysseus
If I Was a Princess
Devamp If I Was a Princess
Landing in Ithaca
Meet the Rents
Fade and Stop Meet the Rents
The Birth of Telemachus An Idyll
The Birth/Fade Birth of Telemachus
Dinner for Schmucks
Telemachus Crying
Evenings in Bed
The Drums of War
Helen Ruins Penelope's Life
Drums of War
Hades
Fade and Stop Hades
Business as Usual
Fade and Stop Business as Usual
Humming
The Fall of Troy
Fade and Stop Fall of Troy
The Wiley Sea Captain
INTERMISSION
Fade and Stop Intermission
Hades/Helen's Theme
Director: David Haugen
Sound Designer: Megan Culley
Associate Sound Designer: Claire Autran
Stage Manager: Kimiko Demura
“Princess Penelope”
Naiad Mother enters
“Water does.”
After all say “The fair and intellegent Penelope!”
“...and my trembling.”
Odysseus pulls Penelope in close
Penelope begins undressing
Penelope goes under the fans
“...reciprocated them.”
After “...only too pleased to go.”
Penelope finishes her monologue
“Ithaca! Ithaca!”
Odysseus and Penelope walk towards parents
Odysseus exits
Eurycleia exits
Penelope gives birth
“It wasn't mine.”
After “He said it to me!”
“...evenings in bed with Odysseus.”
“...the key to that?”
Odysseus and Eurycleia enter
Odysseus leaves
“Then everything would have been fine!”
“...indulged by all.”
Eurycleia exits
“I wasn't so fond of that part.”
“And when darkness fell...”
After “The streets ran red with blood.”
“Stop it!”
After “...avidly to them all.”
Intermission is over
Beginning of Act II
Edited October 2, 2015
The Penelopiad
Ohio University Division of Theatre
325
330
335
340
345
350
355
360
365
370
375
380
385
390
395
400
405
410
415
420
425
430
435
440
445
450
455
460
465
470
475
480
485
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
Prepared by: Megan Culley
16
17
17
17
17
17
17
17
17
17
17
17
18
18
18
18
19
19
19
19
19
20
20
21
21
21
21
21
21
21
21
21
22
Sound Cue Sheet
43
44
45
47
47
47
47
47
47
47
47
47
48
49
49
49
49
50
50
50
51
52
52
54
56
56
56
56
56
56
56
56
57
Fade and Stop Hades/Helen's Theme
The Suitors Arrive
Fade and Stop The Suitors Arrive
Butchery
Stab 1
Stab 2
Stab 3
Stab 4
Stab 5
Stab 6
Bye Bye Wilbur
Fade and Stop Butchery
Hades/Penelope Voiceover
Naiad Whisper 1
Naiad Whisper 2
Fade Hades
The Shroud
Fade The Shroud
Weaving 1
Devamp Weaving
Fade and Stop Weaving
Nighttime
Weaving 2
The Unpleasant Banquet
The Rape of Melantho
Drums Only
The Rape of Melantho
Drums Only
The Rape of Melantho
Drums Only
The Rape of Melantho
Fade The Rape of Melantho
Dreamboats, a Ballad
Director: David Haugen
Sound Designer: Megan Culley
Associate Sound Designer: Claire Autran
Stage Manager: Kimiko Demura
Helen exits
“...and was flickering out. First...”
Penelope exits
“Heap up them platters!”
The Suitors slice the pigs throw
Suitors reach and pull guts
Suitors reach and pull guts
Suitors reach and pull guts
Suitors reach and pull guts
Suitors reach and pull guts
Suitors frantically reach and pull guts
Kelsey gets up to toast
After “...fuck her to death!”
After “...daughter of a Naiad.”
After “I told myself.”
“Finally, a scheme occurred to me.”
The suitors are gathered
“Fairest Penelope!”
After “...happiest man on earth!”
The Maids are gathered
“Shame on you, faithless mother.”
The Maids gather in the nighttime
The Maids gather around the Shroud
The suitors are gathered
“Fair shares for all!”
Kelsey throws second Maid
Back to group
Isolation
Back to group
Isolation
Back to group
The Maids drop to the floor
On the floor
Edited October 2, 2015
The Penelopiad
Ohio University Division of Theatre
490
495
500
505
510
515
520
525
530
535
540
545
550
555
560
565
570
575
580
585
590
595
600
605
610
615
620
625
O
630
635
640
645
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
2
Prepared by: Megan Culley
22
22
22
22
23
23
24
24
24
25
25
25
26
26
26
26
27
27
27
27
27
28
28
28
28
28
28
28
28
28
28
28
28
Sound Cue Sheet
57
57
57
57
58
59
60
61
63
63
63
64
65
66
66
67
69
69
69
73
73
73
73
74
74
75
75
75
75
75
75
75
76
But then the morning wakes us up
Once more we toil and slave
And hoist our skirts at their command
For every prick and knave
Telemachus Astray
Fade and Stop Telemachus Astray
Telemachus Returns
Eurycleia Enters
Fade and Stop Eurycleia Enters
Weaving 3
Devamp Weaving 3
Caught in the Act
Hades
Nightmares
Devamp Nightmares
Fade and Stop Nightmares
The Dirty Old Beggar
Fade and Stop The Dirty Old Beggar
Penelope and Odysseus
Fade Penelope and Odysseus
Large Door
Enter the Suitors
The Great Bow of Odysseus
Arrow
Arrow
Slaughter in the Hall
Arrow
Arrow
Stab HOT KEY “O”
Level Up Slaughter in the Hall
Stab 13/Fade and Stop Slaughter in the Hall
Release Stab
The Hanging of the Maids
Director: David Haugen
Sound Designer: Megan Culley
Associate Sound Designer: Claire Autran
Stage Manager: Kimiko Demura
“But then”
“Once more”
“And hoist”
“For e-very”
“...in search of his father.”
Eurycleia exits
“...what would your father say?”
Eurycleia enters
“...didn't murder you.”
Telemachus stands up
Bradley is set
After “...like daughters to me.”
“Now-you-must-choose!”
Penelope is handed the cup
Naiad finishes her monologue
Penelope wakes up
The Suitors enter
The Suitors exit
Penelope enters
Penelope walks upstage
Eurycleia shuts the door
The Suitors enter
“...great bow of Odysseus.”
Odysseus shoots the arrow
Odysseus shoots the arrow
After “KILL HIM!”
Odysseus shoots the arrow
Odysseus shoots the arrow
Anytime anyone is stabbed
Telemachus helps Odysseus get up
Odysseus and Telemachus stab together
Odysseus and Telemachus pulls out spears
“Kill them.”
Edited October 2, 2015
The Penelopiad
Ohio University Division of Theatre
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Prepared by: Megan Culley
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Queen Penelope is a very clumsy weaver
Hung
Penelope's Revelation
The Ones Who'd Been Raped
The Invocation of the Furies
O Angry Ones
O Furies
Last Hope
On Our Behalf
None in Life
Wherever He Goes
One Life to Another
He Puts On
He May Take
Hunt Him Down
Dog His Footsteps
In Hades
In Our Forms
Our Ruined Forms
Pitiable Forms
Be At Rest
Fade and Stop The Invocation of the Furies
The Bed of Many Secrets Backing
The Bed of Many Secrets Melody
Fade and Stop The Bed of Many Secrets
No Voice
Fade No Voice
Curtain
Director: David Haugen
Sound Designer: Megan Culley
Associate Sound Designer: Claire Autran
Stage Manager: Kimiko Demura
Ready to pull up in the silks
Drop
“What?”
“Your husband is waiting to see you.”
After “...waiting to see you.”
“O Angry Ones”
“O Furies”
“You are our last hope!”
“...on our behalf!”
“...none in life!”
“...wherever he goes!”
“...from one life to another!”
“...he puts on!”
“...he may take!”
“Hunt him down!”
“Dog his footsteps!”
“...or in Hades!”
“...in our forms!”
“...our ruined forms!”
“...our pitiable corpses!”
“...never be at rest!”
Maids exit
Odysseus enters
After “I'm home now.”
“Or so we told each other.”
Maids begin humming
“They never stay.”
Edited October 2, 2015