‘Penelope, A New Musical’ @ Theatre Three

Photos by Jeffrey Schmidt

—Martha Heimberg

Theatre Three is in Penelope mode — part Ancient Greek palace, part nightclub, and entirely exciting.

Cara Statham is the riveting singer and storyteller of Penelope, a saucy one-woman musical that reveals an earthier and more fiercely passionate aspect of the famously patient, virtuous queen-consort of Homer’s Odyssey. Remember the woman weaving away at her loom—no complaints—as she waits 20 years for her husband to sail home after the Trojan War?

The war itself lasts a full ten years, but clever (maybe too clever) Odysseus takes an additional adventure-packed decade to reach the shores of his kingdom. You know, because he’s gotta deal with one-eyed monsters and seductive sirens and other guy stuff.

Alex Bechtel wrote the rich music and clever lyrics, and co-wrote the book with Grace McLean and Eva Steinmetz. T3 mounts a compelling production of the cabaret-style 70-minute show—directed by Sarah Gay with musical direction by Jeff Lacov, who conducts an excellent onstage quintet playing a complex score that includes pop, folk, jazz, and classical vibes.

Statham walks across Theatre 3’s arena stage in a sexy blue gown designed by Sarah Mosher, and takes each step to the bandstand slowly. She holds the mike close, and belts out a song about the strain of waiting any longer without knowing if her husband is even alive.

Then she looks around at the audience, and shifts the beat. “I should tell you who I am and what I’m here for. And if we’re gonna talk about the Trojan War…I need a drink.” She stretches out on a chaise lounge, takes a swig of her iced cocktail, and sings of the hard lot of a wife trying to raise a newborn son and maintain a kingdom while her husband sails off to make myths about himself. “He’s a hero; I’m periphery,” she grouses, drawling out the syllables. (Also, she notes dryly, everyone else’s husband came home years ago.)

It’s not easy dealing with ogling suitors who want to marry her so they can rule the kingdom. To keep these jerks at bay, Penelope promises to wed one of them as soon as she completes the weaving on her loom. Then she removes each thread at night and starts over. What woman doesn’t relate to the tiresome work of recreating order in a messy household every morning?

She also longs in body and song for her beloved husband, looking out to sea and imagining she sees a ship in the distance, her lover coming ever closer to her arms. Statham’s Penelope lifts her arms in prayer to Athena, and shouts out to the all-knowing goddess, who speaks through one band member or another—or occasionally all of them as a Greek chorus. As Penelope questions Athena the goddess just laughs, throws a little gold confetti on Penelope’s head, and tells her nothing. The anxious queen must find a way of sustaining herself and Ithaca on her own.

In a lovely moment of epiphany Penelope realizes that the sea and the clouds and the wind have their work, and she, too, has a job to do. She understands she doesn’t need to wait for Odysseus’ return to get down to the business of keeping the home fires burning in the homey little kingdom of Ithaca. All perked and glowing with fresh resolve, Statham declares, “I’m making myself some French toast.” Good girl.

The goddess Athena herself has got to be showering blessings on the show’s amazing musicians: Lacov on piano, Molly Wong on cello, Bethany Hardwick on violin, Catherine Beck on viola, and Wes Griffin on percussion. (Most were onstage as well for Penelope’s earlier run at Stage West in spring 2025—it’s a co-production between the two theater companies.)

The songs and music carry us swiftly to the lovely, quiet realization that Penelope’s refusal of other suitors—her heartfelt loyalty—is her way of honoring the union itself. “I’m waiting here for us,” she sings, as the lights go down and Serber quietly exits the theater to greet her many fans, waiting with hugs and flowers at the opening night reception.

In this story, can-do Penelope is a myth unto herself.

WHEN: February 19-March 22, 2026
WHERE: 2688 Laclede Street, Dallas
WEB: theatre3dallas.com