PENELOPE
Underbelly Boulevard
★★★★★
“a masterclass in restraint, proving how powerful simplicity can be in the right hands”
Underbelly Boulevard Soho launches its final Fringe Fix season before its premature closure in 2027. And what a start – snapping up a Richard Rodgers award and rave Ed Fringe reviews, ‘Penelope’ is a dazzling one-woman musical rich with depth, humour and just the right dose of madness.
We all know Penelope – or do we? This beacon of devotion is done waiting for Odysseus. Over 65 captivating minutes, we drink, curse, pray and unravel with her, before gathering each loose thread again at dawn.
Alex Bechtel, Grace McLean and Eva Steinmetz’s book presents a refreshingly contemporary take on this well-worn saga. Gone is the moral compass of lore – this Penelope swears, gets drunk and rages at her wayward husband with wit and irreverence. But we also get glimpses of the façade, deftly capturing the simmering turmoil of waiting for someone who’s stopped waiting for you.
Bechtel’s award winning score is a triumph: lush, expansive and infused with jazz, blues, folk and pop influences. There are echoes of Jason Robert Brown’s sophistication and Joni Mitchell’s intimacy, though its voice is singular. The emotional breadth is impressive, from the haunting melody of ‘Penelope’, circling like the lonely moon, to the punchy, self-lacerating ‘Drunk Iliad’, every song earns its place. The blend of spoken word and song is finely judged, though I find myself wanting a touch of Penelope’s voice in later sections – especially after ‘Pilgrim’s Song’ where her defiance fades. Overall this is an assured and beautiful work, deserving its accolades.
Steinmetz’s direction deftly marries intimacy with mythic scale, framing the story as a stripped-back cabaret. With nothing onstage but microphones and instruments, the focus on Penelope never fades thanks to the magnetic performances of Grace McLean and musicians Jonnie Grant and Anna MacLean, directed by Bechtel himself. It also highlights the movement: McLean’s expressive stillness is striking, without a single wasted gesture. Gradually, a visual language of flowing motions and ritualised mimes emerges, culminating in a moving wordless sequence of return and reunion. It’s a masterclass in restraint, proving how powerful simplicity can be in the right hands.
The design is also elegantly understated. Lighting traces the passing days and shifting moods with quiet beauty, while Palmer Heffernan’s crystal-clear sound captures every shade of McLean’s voice and Bechtel’s score. Athena’s gloriously bonkers entrance is genius, and Penelope’s deceptively simple white gown is layered with subtle detail.
McLean utterly commands the stage. From her first appearance, wearily waiting for the audience to settle, to screaming into the endless void and even challenging Athena’s will, she breathtakingly fills the space with charisma, power and pain. And then there’s her voice: rich, raw and effortlessly expressive, navigating every twist of Penelope’s emotional journey with masterful technique and mellifluous beauty.
A stellar start for Fringe Fix, and an even brighter omen for ‘Penelope’. I can’t wait to see what’s next.
PENELOPE
Underbelly Boulevard
Reviewed on 4th September 2026
by Hannah Bothelton
