A monstrous myth-buster

5 November 2021

Distrust of female sexuality is at the core of the myth that Susie Conte blows apart in her new play… but Claire Trolio wants her to take it further.

Monstrous Woman, Tempest Theatre ·
Subiaco Arts Centre Studio, Wednesday 3 November 2021 ·

Trigger warning: this review mentions suicide

Susie Conte’s brand new play Monstrous Woman takes the myth of the Greek princess Phaedra and turns it on its head, giving her protagonist an agency that has previously been denied.

It’s par for the course for the work’s writer and director; Conte’s modus operandi is adapting classical theatre through a feminist lens.

Monstrous Woman is also borne out of Conte’s PhD candidature at the Western Australian Academy of Performing Arts.

According to classical mythology, Phaedra falls in love with her step-son, Hippolytus. Upon confessing her love she is rejected, humiliated and cast out. Ultimately, in the classical version, Phaedra commits suicide.

I should give you a spoiler alert at this point, though it is declared in the program: Conte rewrites the ending and Phaedra chooses not to end her life.

At the core of the Phaedra myth is a distrust of female sexual desire, particularly in older women. It’s presented as grotesque, against the natural order and punishable by death. Conte’s version seeks instead to give space to this older woman’s sexuality; a worthy message.

Conte takes the lead role of Phaedra. She’s backed up by a cast of four others – Amy Welsh, Elizabeth Offer, Joel Mews and Shelby McKenzie. For the most part they’re not really playing anyone in particular but operate more like a chorus, each providing solid support to Conte. This is a clever move, making it unashamedly clear that Phaedra’s narrative is the only one they want to tell.

Susie Conte stands on stage, with her hands raised in front of her, as though holding an invisible ball. She looks serious, perhaps angry. She is dressed in black and the background is black.
Rewriting the myth of Phaedra: Susie Conte in ‘Monstrous Woman’

I really enjoyed the sound design (by Conte with Tomás Ford), a compelling combination of classical and pop music, and effects. Costume designer Jane Tero delighted the audience when what appeared to be a simple and functional set converted into a costume change before our eyes.

The majority of the work is spent creating a sense of social rejection and turmoil, and this is done well. Phaedra’s voice is overborne by the other characters’ aggressive taunting. They frequently surround Conte, speaking over her, jeering or barking like dogs. It’s strikingly effective at conveying a feeling of isolation and highlights the way in which older women are silenced and overlooked in life and in art. The use of masks adds another element of disassociation and misunderstanding.

But by focusing so heavily on Phaedra’s social rejection, there is little room left for developing her character. Monstrous Woman rounds out in a mere 40 minutes. Whilst I love punchy, concise theatre, in this instance there isn’t enough time given to create Phaedra’s persona, to understand her motivations and her desires.

The play ends with a short monologue from Phaedra, choosing to stand up to her shame and refuse her suicidal destiny. The agency given to this female lead is a welcome change, I’m all for it. But I wanted to hear the voice that Conte set out to give her, because as it is, Phaedra’s voice remains obscured.

Monstrous Woman continues at Subiaco Arts Centre until 6 November 2021.

Photos: supplied

Like what you're reading? Support Seesaw.

Author —
Claire Trolio

Claire Trolio completed a Bachelor of Arts (Hons) and a Bachelor of Laws (Hons) at UWA. She writes about Western Australia for various digital and print media and owns a shop with her sister. For her, the spider swing is the ultimate in playground fun.

Past Articles

  • Fiery take makes Animal Farm great

    Ridiculous Twitter accounts, hyperbolic slogans, fake news… Black Swan’s take on Orwell’s classic satirical work is both relevant and powerful, and Claire Trolio is here for it.

  • Diving into the drink

    Though it doesn’t answer all the questions it raises about drinking culture, My Shout is encouraging debut theatre production from a capable team.

Read Next

  • Reading time • 5 minutesTheatre
  • Humphrey Bower as Prospero. Photo Daniel J Grant Prospero kneels at the front of the sand covered stage, his staff raised and his head upturned. In the background we can see other characters from the play. Terrific team tackles The Tempest

    Terrific team tackles The Tempest

    25 November 2021

    David Zampatti is no fan of The Tempest. Is Black Swan’s “by popular demand” production going to change his mind?

    Reading time • 6 minutes
  • Juan Carlos Osma as Prince Desiré and Alexa Tuzil as Princess Aurora in The Sleeping Beauty. Photo by Bradbury Photography copy A female ballerina in an elaborate tutu is held by a male ballet dancer. He clasps her around her waist and her legs are both airborne, one bents and one extended vertically.Her torso angles downwards, so that her shape is a graceful arc. Too many soft centres in chocolate box ballet

    Too many soft centres in chocolate box ballet

    22 November 2021

    If you have a sweet tooth when it comes to ballet then Javier Torres’s Sleeping Beauty should satisfy, says Kim Balfour. But if you’re looking for reinvention rather than convention, you won’t find it here.

    Reading time • 6 minutesDance

Cleaver Street Studio

Cleaver Street Studio

Cleaver Street Studio