Reviewed by: The Penelope Project: An Arts-Based Odyssey to Change Elder Care ed. by Anne Basting, Maureen Towey, Ellie Rose, and: Theatre for Children in Hospital: The Gift of Compassion by Persephone Sextou Jules Odendahl-James The Penelope Project: An Arts-Based Odyssey to Change Elder Care. Edited by Anne Basting, Maureen Towey, and Ellie Rose. Humanities and Public Life series. Iowa City: University of Iowa Press, 2016; pp. 230. Theatre for Children in Hospital: The Gift of Compassion. By Persephone Sextou. Bristol, UK: Intellect, 2016; pp. 206. As scholars increasingly focus on theatre practice and performance developed by, with, and for non-arts communities, the field of arts in health has become a topic of great interest. Two new books—Persephone Sextou’s Theatre for Children in Hospital and the collectively authored The Penelope Project—carve out new interdisciplinary pathways for theatre practitioners, medical humanities researchers, and arts-in-health advocates. Both texts anticipate a wide range of readers who “believe we can create a better world together through engaged and collaborative arts, culture, and education” (Penelope xii–xiii), a world with “compassionate healthcare” that empowers patients, caregivers, and medical professionals—and with artists at its center (Sextou 3). [End Page 604] In The Penelope Project the editors and contributors place a largely pedagogical frame around their study of how theatre students from the University of Wisconsin, Milwaukee, along with professional artists from Sojourn Theatre, planned, created, and revised a site-specific devised performance, The Penelope Project, in collaboration with the eldercare residents and staff of Luther Manor in Milwaukee between 2009 and 2011. Using The Odyssey’s secondary character of the faithful and long-suffering Penelope (wife of Odysseus) as a “mythic frame,” the project’s multiple artists (students, faculty, and manor residents alike) were able to discover value in attributes like resourcefulness, patience, fortitude—values often overlooked in the traditional hero’s journey and, as values that accrue over time, ones exemplified by the elderly (56). The key research question was whether the project’s constituents could “transform the community [of Luther Manor] into a place of storytelling and meaning-making,” with the broader goals of improving the “quality of life of everyone who lives, works, and visits” there (1). Secondary questions included whether such a project could transform the “comfort, conceptions, and empathetic perspectives” on aging and interactions with the elderly in its college-aged participants and its collaborating professional artists, as well as whether the project as a whole might provide new models for curricularly integrated, long-term “community engagement” health- or elder-care projects at institutions of higher education (139). The contributors include their evidence of successes, failures, and points for futher work in appendices; one might also argue that Basting’s receipt of a 2016 MacArthur “genius” grant to further her work integrating the arts into eldercare testifies to the value of this project. Similarly, in Theatre for Children in Hospital Sextou describes a range of institutions (medical and educational) and individuals transformed by the use of theatre in healthcare. Her book takes its title from a particular genre, Theatre for Children in Hospital (TCH), and one of its unique forms: a site-specific bedside performance that addresses a pediatric patient’s immediate needs, as improvised by a skilled and empathetic performer based on a rehearsed script that anticipates the interactions and anxieties common to being in the hospital (38–41, 11). The book’s longest chapter details the methods and results of Sextou’s “five-year research study conducted with children, their families, and artists in NHS (National Health Service) hospitals in the United Kingdom” with the primary research question: Can bedside performances with “integrated relaxation exercises . . . distract the child [who experiences them] from their illness [and] offer moments of creativity through entertainment and relax them whilst in hospital?” (vii, 65). Even more potentially revolutionary are Sextou’s secondary research questions: How are applied theatre students and artists equipped via their training to present a type of TCH where the engagement is one-on-one, highly improvisational, and personalized in real time with the patient as co-creator? What might theatre artists working in hospitals learn about the experience of illness...