Kate Hamill brings a feminist 'Odyssey' to American Repertory Theater

Until recently, the staging of an epic poem wouldn’t have stirred up feelings of excitement for me. But with Kate Hamill’s turn of the pen to adapt Homer’s “The Odyssey,” at the American Repertory Theater through March 16, she’s crafted something special, and I’m changed.

Contemporary adaptations can be tricky business. One must decide on using old language versus new, period costuming (or not), and the writer must work to keep the spine of the original piece intact while considering the world we live in and all its social mores.

“The Odyssey” is the story of a warrior king, Odysseus — a fantastic Wayne T. Carr — who has a reputation for his exploits and is trying to get home after the end of a long war. But the expedition he’s on is more about finding a way to forgive himself for the man he’s become over the years. Odysseus is tortured by the atrocities he’s committed — in one moving scene, he’s confronted by the ghosts of those he’s murdered — and is searching for absolution and to be reunited with his wife.

With delightful direction by Shana Cooper, Hamill’s version enlivens the classic tale with edgy dialogue and lots of humor. In this superbly acted offering, the female characters — from queen Penelope (a lovely Andrus Nichols) to the witch Circe (a delightfully wicked but lonely character portrayed excellently by Hamill herself) — are much more fleshed out and nuanced.

For purists who prefer to keep classics intact, this might not be for you. The fair, faithful untouched reputation of Penelope is not upheld in this version, Odysseus is not only a strong hero, but a conflicted soul and there’s a fair amount of sexual innuendo, fight scenes and a bit of blood. But it’s balanced in its presentation and makes a centuries-old tale approachable for new audiences.

While Odysseus faces delay after delay at sea, Penelope is at home fending off suitors (a jubilant bunch of crass talkers) eager to take the throne. Her son, Telemachus, is at her side, and he wants her to wait for his father. At least, at first. The crude cadre of pursuers donning fur coats, sunglasses and wool hats make plans as they try to figure out who among them will win Penelope’s hand and become the king of Ithaca.

Instead of choosing, Penelope opts to weave a tapestry to honor her husband, Odysseus. She’ll pick a new husband once she finishes her task. But it’s been years since she’s seen her partner, and she has needs. And Amphinomus, a very memorable Keshav Moodliar, waits patiently for Penelope to buckle. She wants to remain faithful, but she’s also angry at Odysseus’ past womanizing.

In the wrong hands, Hamill’s adaptation could feel long and tedious at three hours — it’s anything but. The action is evenly paced, the dialogue well-delivered (from the stage and in the aisles), and the comedic timing sharp. Also, the ensemble portrays a range of characters, from love interests to shipmates and lively, vocal animals with lots of personality.

The set with its ropes, sails, and gorgeous draping by Sibyl Wickersheimer, the oceanic projections and lighting by Jeanette Oi-Suk Yew, along with sound design and music composition of Paul James Prendergast immerse showgoers into Odysseus and his shipmate’s world on the water. There’s also a clever use of projection for the depiction of the cyclops’ large yellow eye and a montage of Odysseus as a warrior used in the tapestry’s unveiling.

There’s puppetry direction and design by Kate Brehm with Abigail Baird as a puppeteer and costumes with yellow hair flowers, detailed skirts and vests by costume designer An-Lin Dauber all add to the show’s flair.

Hamill, who was named 2017’s Playwright of the Year by the Wall Street Journal, has a knack for reimagining old stories. In the past, she’s turned her attention to “Sense & Sensibility,” “Vanity Fair” and “Dracula” to much acclaim, and now, “The Odyssey,” which was years in the making.

In a note on the A.R.T.’s website, Hamill writes of the universality of this tale. “It is a story about the generational and cyclical repercussions of violence — and how we can learn to embrace healing and forgiveness, even in the face of civilization-shaking traumas.”

This story provides space for the victims and the victors of war to share their pains and pushes us to consider how we might forgive others and ourselves.

A.R.T.’s “The Odyssey” runs through March 16 at the Loeb Drama Center in Cambridge.