EDINBURGH 2026: Review: PENELOPE, Underbelly
Grace McLean stars in Alex Bechtel’s sharp, award-winning folk-pop chamber musical retelling of The Odyssey.
With Christopher Nolan’s upcoming Odyssey project keeping Homer on everyone's mind, Penelope arrives at Underbelly at a remarkably prescient moment. And really, who doesn’t love a good backstory? (Wearing my Wicked t-shirt when attending, I am certainly biased toward a compelling origin story). Conceived by composer Alex Bechtel and co-written with Eva Steinmetz and Grace McLean, this Richard Rodgers Award-winning folk-pop chamber musical gives epic myth a razor-sharp, modern framing.
The production opens on an absolute high. McLean commands the space with magnetic poise, landing deadpan comedic beats while remaining largely static onstage. Her early monologues detailing Penelope’s covert, competitive friendship with Helen of Troy are an absolute highlight, a witty, sharp backstory that begs even more stage time.
Midway through, the onstage three-piece ensemble transitions into a divine manifestation of Athena, smartly organized to double as a traditional Greek chorus reflecting divine perspective and public commentary. The instrumentalists deliver Bechtel’s lush, acoustic arrangements with exquisite precision, elevating the dramatic weight of the space. It is a gorgeous, beautifully orchestrated pivot.
However, after this turning point, the narrative momentum falters. As the plot strays into Penelope’s extended, circular waiting, the storytelling gets a bit lost and stays somewhat flat. Musically, what begins as dynamic variety starts to feel repetitive, missing the energetic spark of the initial half. Inserting additional backstory moments or varied dramatic beats into this second act would easily keep the momentum soaring.
Even so, the sheer craft on display makes this a small, wonderful hit. McLean’s commanding physical discipline, paired with a marvelous trio, makes this a genuinely charming hour at the Fringe.
Penelope plays at Underbelly until 24 August.
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