Sometimes, reality is stranger than fiction and my dealings with this iconic, archetypal figure from Greek Tragedy has made the transition from Troy to Campbells Creek in a most significant way. Some eight years ago I had the privilege of performing the lamenting queen on Hydra, Greece where my passions for both Greece and Greek Tragedy were melded into performance. _

Since that time, in a similar vein to Queen Hecuba,

‘My destiny has changed. I must endure it. Sail with the currents wherever fate may lead.’

Fate came with the task of building a home in Campbells Creek, Victoria. From a metaphysical point of view, this could be seen as an action of a woman building her own domain. I too, like Hecuba had been bereft of security and as a single woman, the ability to build my own dwelling, my security, came as a challenge that one would view on television building programmes.

Again, like Hecuba, I was in a strange land. People had different customs. The milieu was unlike my previous experiences and with the onset of COVID, I found myself alone. Aloof, and relatively reclusive. I referred to myself as the constant gardener a role devoted to the glory of Gaia to restore the earthly damage of the gold rush to rejuvenate and reinvigorate the healing qualities of nature. Also, at this time my acting agent closed her doors and with that a near 60 year career on stage, TV and film ostensibly ended.

‘What will come of me?’ was Hecuba’s cry as she ‘foundered on this miserable rock.’

Unlike time in a theatrical production which is finite with a beginning, middle and end, time in reality is endless and decidedly unpredictable. Please imagine my surprise when I was contacted by Greek Theare Now Artistic Director, Michael J. Smith asking me to audition for the role of Hecuba in an upcoming production Of The Trojan Women in Canberra, A.C.T. Of course my heart jumped and quite studiously and ardently I began memorising Hecuba’s opening speech with dedication and total delight. Then just as suddenly, the invitation was rescinded. They had decided not to do the play. A decision based on the dreariness and endless lamenting qualities of the piece and the likely failure to draw an audience.

My disappointment was not for me the actor doing it but rather my saddness that the play would not be staged Now as I consider it to be the most potent and important work for our time. Reflection on the symbology of Hecuba, the women, displacement, lament and grief naturally aligned with all the war-torn locations on our planet and the misery, resilience, sacrifice and wonder of all women and their children.

And that ‘I, like a mother-bird guarding her brood will lead the lament.’

From this experience has emerged the notion of Project Hecuba.

Hecuba the Queen who leads the lament. The voice of wisdom that bridges loss and renewal. The physical sound that shatters psychic grief and offers hope.

Hecuba is our Queen for Now.

The notion of the Hecuba Project is for conscious women to raise their voices for the collective. A sound, a poem, a drawing, a piece of music. Anything that expresses grief. lament, hope.

There may be small circles doing a small ritual. There could be podcasts of women’s stories. There could be a website to link the possible. With these random ideas, the purpose of this blog post is to get the notion of Hecuba in the Now out there. And of course to invite like minded souls to engage.

Please consider the Hecuba Project and if you resonate to it, let’s begin! Let’s make the sound for the planet, for humanity, for women everywhere.

LET’S MAKE HECUBA LIVE.

Please send your expression of interest to brendaaddie@gmail.com.