“Three Nights in Ithaca” Explores Family, Grief, and rebirth on a Mythic Island
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A new play, “Three Nights in Ithaca,” premiering next week, delves into the complexities of sisterhood, aging, and the enduring power of the past, all set against the backdrop of the legendary Greek island. the production, featuring Cecilia Freire, Martha Nieto, and Amaia Lizarralde, is the latest work from playwright Alberto Conejero and directed by Maria Goiricelaya.
A Return to Ithaca After Loss
The play centers on three sisters – Penelope, Elena, and Ariadna – who reunite on Ithaca following the death of their mother, Alice, a former classical Greek teacher. The youngest sister is a little over forty years old, while the oldest is approaching sixty. This gathering isn’t merely a response to grief, but a journey to the place where their mother, years prior, chose to abandon conventional life and settle. As one source noted, conejero jokingly refers to this as having “relapsed again in Greece.”
From Classical Texts to Contemporary Concerns
Conejero’s interest with Greek mythology and culture is well-documented, evident in previous works like “odyssey,” “Troyanas,” and “Electra.” However, “Three Nights in Ithaca” marks a shift towards a more contemporary focus. “I came from texts from memory, sometimes with looks to the past, but in this work, I wanted to talk about the present,” he explained. He views humor not as an escapist strategy, but as a tool of our intelligence to be able to face very elaborate situations.” He acknowledges the inherent connection between tragedy and comedy, and the sublime and the ridiculous.
Echoes of Chekhov and a Nod to Wilder
The play’s premise – three sisters leaving their homes – inevitably draws comparisons to anton Chekhov’s “Three Sisters.” Conejero acknowledges this influence, stating, “Chekhov is certain… Yes, his ghost is in this play.” However, he emphasizes a key difference: while Chekhov’s characters yearn for a Moscow they never reach, his protagonists do arrive in Ithaca.
Despite the chekhovian undertones, Conejero reveals a stronger affinity for the comedic sensibilities of Billy Wilder. “My dialog has been more with comedies,” he said, aiming to deliver a work that offers “light and goodness” in challenging times.
A Delicate Staging and a Journey of Continuous Learning
Maria Goiricelaya, the director, described the text as “delicate” and deeply resonant with her own life stage. “‘Three nights in Ithaca’ resonates a lot with me as I conceive life as a continuous learning and a continuous journey,” she explained. She embraces the idea of the journey being more vital than the destination, echoing the spirit of the Odyssey.
Goiricelaya also highlighted the play’s exploration of family dynamics, unresolved issues, grief, forgiveness, and the process of seeing parents as individuals beyond their parental roles. “There is something very beautiful about seeing who those people are when they take off that mother and father suit, and what remains of them,” she observed.
Rebirth and the Right to Reinvention
Conejero asserts that “Ithaca” is fundamentally about the possibility of rebirth at any age. the play champions the “right to move the bow of the ship towards unforeseen destinations,” particularly for women who often face societal pressures related to ageism, motherhood, and expectations of conformity. He emphasizes Alicia’s right to be seen as a woman with her own complexities, rather than solely as a mother.
“‘Ithaca’ talks about always having time to be reborn in an older body,” Conejero concluded, offering a message of hope and empowerment for audiences navigating the complexities of life and loss.
