Voice Choice for its extraordinarily creative and relevant retelling of a cleverly adapted classic.
“A radical and brilliant reimagining of Homer’s The Iliad and The Odyssey makes a big splash, putting the women in charge — as warriors, leaders, and peacemakers. This production is genius on every level: bold, powerful and unforgettable. This is the stuff from which theatre magic is made.“
The Stratford Festival has long been a space for bold theatrical choices when it comes to gender-swapping. We’ve recently seen on their stages a female Hamlet, a female Julius Caesar, and even a gender-fluid Richard III. This time around, there’s diving into Greek mythology with Canadian playwright Erin Shields’ new work, Ransacking Troy — and it’s all about the women. Known for reimagining classical texts through a feminist lens, Shields turns her attention to the world of Greek mythology — but this is no retelling of the Homeric epics. Instead, it’s a powerful reframing.
Rather than focusing on the male warriors of The Iliad and The Odyssey, Ransacking Troy centres on the women who have been left behind. These women are wives, daughters, and sisters who, tired of waiting for the war to end, find a left-over ship and set off on a perilous journey of their own. In a clever and sometimes hilarious script, they face gods, warriors, and mythic monsters, determined to reunite with their men and stop a senseless, enduring war and, more importantly, not be forgotten in history.
What makes this production stand out is Shields’ refusal to gender-swap roles. Instead, she digs deeper, exploring what it means to be a woman living through war — not on the battlefield, but in maintaining life at home. These wonder women, led by Penelope (a marvellous Maev Beaty) and Queen Clytemnestra (a commanding Irene Poole), are given complex emotional lives as they fight not only for peace, but for their stories to be heard. This brings incredible challenges to the actresses.
The ensemble of nine women is extraordinary. Each brings a distinctive character and life experience to the stage — from royalty to servant, mother to daughter, sailor to goddess — creating a tapestry of personalities that are determined, fearsome, and vulnerable. Their work is seamless and full of energy, yet each performer is given the space to shine individually. It’s wondrous to watch the way these women shift effortlessly between multiple characters, playing both female and male roles with clarity, purpose, and a knowing wink.
A particularly hilarious moment comes when Penelope and Clytemnestra disguise themselves as goddesses to persuade Trojan soldiers to lay down their arms. The rapid-fire switching between their own personas and those of the bumbling, blustering men — complete with exaggerated masculine gestures and strategic scratching is sharply satirical and brilliantly executed.
Visually, the production is no less powerful. Judith Bowden’s set and costumes are both simple and epic in scale. She utilizes the Tom Patterson stage beautifully: at one end of the stage sits a canvas block-and-tackle rigging evoking both a great loom and a ship’s sail; the other end is reminiscent of a ship’s prow. With little more than a few ropes, benches, and a trap door, Bowden creates a fully immersive world — one that feels timeless and transportive.
Her costume design is equally striking — a fusion of ancient and modern. Flowing (mostly) white classical materials and accessories are combined with contemporary elements: tights, khakis, halter tops, and sandals. The result is both elegant and wearable. At one point, my companion leaned over to whisper, “I’d wear any one of those outfits.” It’s a telling comment: these women, though mythic, feel immediate, relatable, and real just by their individual styles.
Michael Walton’s lighting design is unparalleled. His warm, golden hues bring us into the searing sun of the Greek Isles, while cool shafts of light and deep shadows transport us to nighttime encampments and the underworld itself. The most breathtaking visual moments come at the gates of Hades, where bright red and piercing white lights collide in a surreal and unsettling glow. Later, an intense thunderstorm — created with simple darkness and explosive flashes, along with appropriate physicality of the jostled crew- rivals any angry ocean I’ve ever seen.
Sound plays such a massive role in bringing this epic story to life. Thomas Ryder Payne creates an incredible soundscape filled with everything from mythical creatures to raging storms. And Deanna H. Choi’s original music—featuring war drums and traditional Greek strings—beautifully adds to the sense of mystery and excitement.
Director Jackie Maxwell has fashioned a tale that is bold, powerful, and unforgettable. Her razor-sharp storytelling maximizes every part of the stage. Her blocking is novel. She effortlessly transports us to exotic and horrifying locales. Whether on the battlefield or in quiet, tense moments of negotiation and reflection, her characters know how to hold an audience.
The show does run a bit long—almost three hours—and the ending feels a little underwhelming when an unexpected character arrives and wraps everything up in an extended monologue. Still, there’s real magic here. Ancient stories are brought to life in a fresh, powerful way, forgotten voices finally get their moment, and every creative choice has meaning and purpose.
Honestly, it’s brilliant across the board.
Catch it before it sails away for good!
Running time: Approx. 2 hours, 50 minutes with one intermission
The production runs until September 28 at the Tom Patterson Theatre,111 Lakeside Dr.
For tickets: stratfordfestival.ca or call 1-800-567-1600
The Stratford Festival Presents “’Ransacking Troy” by Erin Shields
Directed by Jackie Maxwell
Lighting Designer – Michael Walton
Costume and Set Designer – Judith Bowden
Composer – Deanna H. Choi
Sound Designer – Thomas Ryder Payne
CAST: Irene Poole, Maev Beaty, Helen Belay, Sarah Dodd, Ijeoma Emesowum, Caitlyn MacInnis, Yanna Mackintosh, Marissa Orjalo, Sara Topham.
