“Athena” strikes with precision at The Rep

Conventional notions of drama suggest that the lead character is defined as the one who undergoes the most significant transformation or change over the course of the narrative. Playwright Gracie Gardner named her play “Athena” (currently at The Repertory Theatre of St. Louis as part of their Steve Woolf Studio Series) so ostensibly the character Athena (not the Greek goddess, but a teenage fencer) is the lead.

But not so fast.

Gardner parries with that notion by creating two characters in this essentially two-hander play – Athena (Isa Venere), and Mary Wallace (Jailyn Genyse), both of whom undergo the requisite changes to qualify as the lead. There’s a third fencer, Jamie (Carmen Cecilia Retzer), who makes a very brief and well-performed) appearance toward the end of this 75-minute, uninterrupted performance.

This play could just as well have been called “Mary Wallace.” One way to define this play is not about a lead character, but about a relationship as its own sort of character that undergoes the transformation. This being drama, neither Mary Wallace nor Athena is the unstoppable object, and neither is the unmovable object. Rather, they carom off each other and rebound into new trajectories. And that true third character, their relationship, grows and resolves through conflict as well.  

That’s an impressive playwriting feat made even more so with a sharp, insightful script filled with a muscular blend of humor, conflict, pop culture references and genuine emotion that avoids teenage navel gazing and grrrrl power platitudes, especially in a “sports play,” which this is definitely not.

The “Place” is listed as “Here,” rather than the piste, or rectangular strip where bouts are performed. Though the piste has specific markings, such as the on-guard lines and warning zones, to guide the fencers during the match. And these definitely guide and define the relationship of Athena and Mary Wallace.

For this Rep production, the experience of “Athena” is unique in numerous ways, not the least of which is the world of competitive fencing as a general setting. And the most of which is the high tensile strength acting by Genyse and Venere. Under the excellent direction of Nancy Bell, they are well-matched as actors, and both deliver a clear and vibrant characters. Thanks to Becks Redman, the casting director, for that.

Venere valiantly delivers an Athena whose bravado is her way of masking her insecurities. Genyse’s performance explores Mary Wallace’s awkward insecurities with a performance that is touching, vulnerable and immensely funny.

Also noteworthy is the sheer physicality these actors deliver as they fence their way through the play. If the “Athena” were any longer, there would have been a need for at least one water break.

The continuous, flowing narrative with a propulsive number of quick shifts marked by changes in time and focus follows the two high school fencers as their relationship evolves from wary rivalry to an intricate bond. Their interactions, from the staccato rhythm of their dialogue to the disciplined precision of their fencing—is packed with tension and unspoken vulnerability.

The fencing scenes are well choreographed and are the result from guidance of the fencing consultant, Annamaria Lu, and fight director, Paul Steger. As good as the fencing scenes are, the extended “showdown” bout felt too long. Although Athena and Mary Wallace needed to the inevitable face off, the 15-point bout was a bit clunky. To be fair, no other option would work any better. The scene would have worked in a film, with lots of cuts to sweat, grunts, blade touches and the like, but those aren’t visual elements available on stage.

The fashion runway-style stage, flanked by the audience, makes effective use of the Rep’s black box theater space. The sleek, tubular side lights and ringside overhead lighting enhance and complement the action on the stage thanks to the talents of Jayson M. Lawshee. Also adding to the fun and drama are sound effects and a modern soundtrack by Jimmy Bernatowicz.  

“Athena” begins with a howl of sorts from Athena, and it ends with a similar expression by Mary Wallace. Through this bookending, it’s clear that both characters have undergone transformations, as has their relationship. With this resolution, it’s clear all three have a changed perspective and circumstance. And in that change lies the reason to see this production.

“Athena” runs through February 9 at the Emerson Studio Theatre at the Loretto-Hilton Center at Webster University. Visit the website for more information.