Chelsea LeValley in 'Penelope' - Can't Get Any Better

Chelsea LeValley as Penelope (John McLellan)

Penelope

Artswest

through December 21, 2025

Chelsea LeValley has been gallivanting around national theaters gaining credits (like touring with Come From Away) and valuable experience honing her craft. Thankfully, she's back in town for the run of this solo musical extraordinary effort, Penelope at Artswest. 

The promo blurb says, "Penelope has been waiting…and waiting…and waiting for her husband, Odysseus, to return from a decade-long war. Given the rest of the soldiers came home years ago—forgive her, but she’s going to need a drink while she tells you about it." A folk-inflected pop score, backed by a five-piece onstage band, this musical demands a compelling performer with vulnerability and a great belt.

Penelope was the wife of Odysseus - King of Ithaca - who left to battle in the Trojan Wars. True to the story in The Odyssey, she sings about the war being over in ten years, yet Odysseus does not return for ten more. That's a lot of waiting! 

During that time, Penelope rules in his stead and raises their son, while dozens of suitors swarm their residence. Yet, she stays true to her marriage, despite the pressures. 

LeValley is called upon to exist on stage through several musical interludes in-between songs. Directed with subtly by Kelly Kitchens, she gracefully moves fully around the stage and sometimes into the audience. It's not quite dance, but it's not random, either. The stage is essentially bare besides the five musicians behind her and a chair. A sort of stone impression covers the walls and floor (designed by Julia Welch). Christopher Mumaw brings many varieties of soft light and mood changes in elegant lighting design.

And LeValley must sing! And so she does. She brings an incredible range of vocal ability, especially in a rather small space, from melancholy ballads to rages of frustration, to love songs. She does not overpower, but pours her emotions onto the stage, going through every imaginable emotional state. It's a tour de force performance that elevates this musical beautifully.

I think this is likely the best version this musical could be. I'm grateful that it's only about 70 minutes because essentially nothing happens in it. It's a "tone pome" about grief. Penelope tells us her feelings, her frustrations, describes how she keeps her suitors waiting by telling them that she'll marry one of them when her tapestry is done - and then undoing the stitches she's stitched during the day, taking them out every night.

There is some character change, as Penelope gets frustrated with the goddess Athena, and decides that she has agency in her own decisions. However, she isn't provided any specific different thing she will do that will really change anything. 

To pull this musical off, you need a charismatic, self-confident audience charmer. LeValley pulls this off in spades. Even if you tire a bit from the interludes - though the music is beautiful to listen to - she keeps you interested in her and the tiny grace notes of fingers suggestive of weaving. And satisfies with an occasional full belt that fills the room. She is must-watchable.

Mat Wright ably music directs and plays piano, and four other fantastic musicians fill in with Amanda Spires on violin, Lauren Hall on viola, Michelle Dodson on cello, and Mitchell Beck on percussion. Sound designer Erik Siegling masterfully helps modulate the balance so that every word of LeValley's songs are heard and not overpowered. (Many local musicals can't say the same...)

There is a lot to like about this production, and an actor to love. I would go, if I would you!

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