The Janeiad
by Anna Ziegler
Directed by Kim McKean
Upstream Theater
November 6, 2026
Jane Paradise, Lizi Watt
Photo by Patrick Huber
Upstream Theater
The Odyssey seems to be on a lot of people’s minds lately. As pointed out by director Kim McKean in the program for Upstream’s latest production, The Janeiad, there’s been a lot of talk about Christopher Nolan’s film adaptation and Emily Wilson’s new translation. Also, another local theatre company is doing an Odyssey-inspired show later this year. It’s an epic story, and a classic for a reason, as it tackles many timeless issues despite being written thousands of years ago. Anna Ziegler’s The Janeiad combines this epic story with a more modern cultural reference point, the tragedy of September 11, 2001, into a play that explores issues of grief, coping mechanisms, memory, and “moving on”, with a thoughtful script and relatable characters, made all the more relatable by Upstream’s excellent cast and remarkable staging.
The story is introduced by Penelope (Jane Paradise), wife of Odysseus, narrating the story of Jane (Lizi Watt), who fell asleep reading The Odyssey and now seems to see visions of Penelope everywhere, even in visits from relatives and friends who try to support her in the grief over losing her husband, Gabe (Chris Tipp) in the World Trade Center collapse. Since Gabe hasn’t been found, Jane holds on to the seemingly vain hope that he might come back someday, encouraged by these visions of Penelope, who keeps asserting that after 20 years, Odysseus did come back. We see the passage of time from the fateful day and Jane’s last phone call with Gabe to the days, months, and years that follow, as Jane becomes tied to her house, unable to move forward despite her best efforts. She watches her sons grow up and hears the encouragements of her devoted sister, her condescending mother, and various friends, but she still stays mostly housebound, stuck in her grief, memories of the past, and the constant visions of Penelope. Eventually, twenty years have passed, and Jane is led to believe that maybe what she’s wished for will come true–but will it? Epic poems are one thing, but what about reality?
The story is well-structured, helped along by an excellent production team that works well to blend the story elements and technical qualities of the show. Bonnie Carpenter’s set is well-realized, and although it doesn’t move, there are many areas that facilitate the changes in story and mood. There’s also first-rate atmospheric lighting by Katherine Stepanek and sound by Philip Boehm that contribute much to the sense of the passage of time, as well as the growing sense of stagnation as the years go by. Sarah Gene Dowling’s costumes suit the characters well, as well as being adaptable especially for Paradise who plays a variety of characters throughout without having to go through elaborate costume changes–there are just a few accessories added as needed.
As for the acting, it’s stellar. The cast makes this show all the more relatable, and the themes of grief, memory, and the struggle to move on shine through. Watt, as Jane, anchors the production with a solid, resolute performance that reveals Jane’s pain as well as her underlying mix of regret, grief, and seemingly fruitless hope. Tipp, in a smaller but pivotal role, is also strong as Gabe, who exists as a memory as well as a symbol of what has been lost as well as enduring love that transcends that loss. His scenes with Watt are poignant and believable. Paradise is a marvel as Penelope and a variety of different people in Jane’s life, showing off a remarkable versatility and emphasizing Penelope’s role as both an encouragement and a hindrance to Jane’s efforts to move on. It’s an excellent ensemble that only enhances this show’s thoughtfulness and excellence.
Grief, waiting, and the urge to move on are timeless experiences that show up in different ways in literature and art over the centuries. The Janeiad emphasizes this sense of universality while also making the experiences here relatable and highly personal. It’s a poignant, compelling work, given a marvelous and effective staging at Upstream by a first-rate cast. It’s a must-see theatrical experience.
Chris Tipp
Photo by Patrick Huber
Upstream Theater
Upstream Theater is presenting The Janeiad at the Marcelle until November 22, 2026